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VOLUME    VI 


ATHENIAN    WHITE    LEKYTHOI 


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D 

ATHENIAN    LEKYTHOI 


WITH    OUTLINE    DRAWING   IN 

GLAZE   VARNISH    ON    A 

WHITE    GROUND 


BY 

ARTHUR   FAIRBANKS 

MUSEUM    OF    FINE    ARTS,    BOSTON 


Neto  fforfc 
THE    MACMILLAN   COMPANY 

1907 

All  rigktt  reserved 


COPYRIGHT,  1907, 
BY  ARTHUR  FAIRBANKS. 


Set  up  and  electrotyped.    Published  December,  1907. 


Nor-wood  Press 

J.  S.  Gushing  Co.  —  Berwick  &  Smith  Co. 
Norwood,  Mass.,  U.S. A. 


THE  GETTY  CENTER 
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PREFACE 

THE  purpose  of  the  present  volume  has  not  been  to  make  a 
thesaurus  of  lekythoi  with  drawing  in  glaze  on  a  white  ground,  though 
I  have  included  in  it  all  the  examples  that  I  have  seen  and  some  that 
I  know  only  by  description ;  I  have  rather  aimed  to  study  the  differ- 
ent classes  of  white  lekythoi  in  their  relation  to  each  other  and  to 
vases  in  a  different  technique.  Using  as  a  basis  the  work  of  Pettier, 
Furtwangler,  Bosanquet,  and  others,  I  have  brought  these  classes  of 
lekythoi  into  a  fairly  well-established  series,  dating  approximately 
from  475  to  4-3°  B>c-  The  results  are  important  for  the  history  of 
Greek  vase  painting,  in  that  changes  are  much  more  clearly  defined 
here  than  in  other  kinds  of  vases  during  this  period. 

Delays,  for  which  I  am  only  in  part  responsible,  have  postponed 
the  appearance  of  the  present  volume  until  it  is  somewhat  out  of 
date  so  far  as  the  Athenian  collections  are  concerned.  A  discussion 
of  the  new  lekythoi,  mainly  from  Euboea,  may  be  added  in  a  supple- 
ment to  a  second  volume,  if  I  am  able  to  complete  my  work  by 
treating  lekythoi  with  drawing  in  dull  color. 

My  thanks  are  due  to  many  friends  who  have  assisted  me  in 
these  studies,  and  in  particular  to  the  museum  curators,  who  have 
given  me  every  opportunity  to  study  the  collections  in  their  care. 
In  expressing  my  regret  that  MacMahon's  article  on  white  lekythoi 
(American  Journal  of  Archaeology,  1907,  p.  7  f.)  appeared  too  late 
for  me  to  make  use  of  it,  I  wish  to  acknowledge  obligation  to  Mr. 
MacMahon  and  the  Journal  of  Archaeology  for  permission  to  reprint 
one  plate  (plate  XV).  Finally,  both  on  my  own  behalf  and  on  behalf 
of  the  classical  department  of  the  University  of  Michigan,  I  desire 
to  thank  the  Honorable  Peter  White,  Regent  of  the  University,  for 
the  generous  aid  which  has  made  it  possible  to  publish  this  volume 

in  the  University  of  Michigan  Studies. 

ARTHUR   FAIRBANKS. 


LITERATURE 

IN  addition  to  the  catalogues  of  vases  in  the  public  museums  (of  which 
Collignon-Couve,  Catalogue  des  vases  peints  du  Mus'ee  national  d' Athenes,  1902, 
is  most  important  for  lekythoi)  and  in  private  collections  (e.g.  Frohner,  Collec- 
tion van  Branteghem,  1892),  the  following  books  are  devoted  wholly  or  in  part 
to  white  lekythoi :  — 

BENNDORF,  Griechische  und  sicilische  Vasenbilder,  Berlin,  1869—1883. 

DUMONT,  CHAPLAIN,  POTTIER,  Les  ceramiques  de  la  Grece  propre,  Paris, 
1884-1890. 

POTTIER,  Etude  sur  les  lecythes  blancs  attiques  a  representations  fun'eraires,  Paris, 
1883. 

MURRAY,  White  Athenian  Vases  in  the  British  Museum,  London,  1896. 

The  following  articles,  also,  are  important  for  the  study  of  these  vases :  — 

Arch.  Zeit.  1880,  S.  134  f.      Furtwangler,  "  Weisse  attische  Lekythos." 

Am.  Jour.  Arch.  1886,  p.  385  f.  Wright,  "Unpublished  White  Lekythoi 
from  Attica." 

Athen.  Mitth.  XV.  S.  40  f.  Weisshaupl,  "  Attische  Grablekythos  "  (also 
Festschrift  fur  Otto  Benndorf,  Weisshaupl,  "  Der  Gang  zum  Grabe  "). 

Jour.  Hell.  Stud.  1896,  p.  164  f.  Bosanquet,  "On  a  Group  of  Early 
Attic  Lekythoi."  1899,  P-  J^9  f.  Bosanquet,  "Some  Early  Funeral 
Lekythoi." 

In  the  effort  to  place  the  different  classes  of  lekythoi,  constant  reference 
is  made  in  the  following  pages  to  Hartwig,  Die  griechischen  Meisterschalen  des 
strengen  rothfigurigen  Stiles,  1893,  and  to  Klein,  Die  griechischen  Vasen  mit  Lieb- 
lingsinschriften,  Zweite  Auflage,  1898. 


INTRODUCTION 

I 

ALL  through  the  history  of  Greek  vase-painting  attempts  were 
made  to  secure  a  white  ground  as  the  foundation  for  the  painter's 
work.  These  attempts  met  with  varying  success,  but  never  with 
such  success  as  to  supersede  other  forms  of  decoration.  The  ad- 
vantages of  a  white  ground  are  obvious.  Black  lines  show  better 
on  white  than  on  dark  red,  and  polychromy  could  be  introduced 
with  the  white  ground  into  this  lesser  art,  instead  of  being  limited 
to  painting  of  a  more  ambitious  type.  But  it  was  difficult  to 
attach  a  white  coating  securely  to  the  vase,  and  when  the  coating 
was  first  made  secure  this  end  was  attained  at  the  expense  of 
whiteness.  Later  a  white  chalky  coating  was  attached  securely 
to  the  vase,  but  the  coating  itself  was  so  friable  that  the  painted 
scene  was  anything  but  permanent.  So  far  as  general  vase-painting 
was  concerned,  the  use  of  a  white  ground  never  passed  the  experi- 
mental stage ;  only  on  vases  of  one  type,  manufactured  for  a  special 
purpose,  did  it  ever  become  common.  These  vases  were  the  so- 
called  white  lekythoi,  made  at  Athens  for  use  in  connection  with  the 
burial  of  the  dead. 

The  Greek  word  \iJKv0os  is  an  old  name  for  a  flask  or  bottle  in 
which  oil  was  carried.1  So  in  Homer  the  word  is  used  to  denote  the 
golden  vessel  containing  oil  which  Nausikaa  and  her  two  companions 
took  with  them,  that  they  might  have  oil  with  which  to  anoint  them- 
selves after  the  bath.  In  the  time  of  Aristophanes  and  Plato"  it  still 
means  the  oil-flask  which  the  athlete  carried  together  with  his  strigil, 
an  oil-flask  "worth  an  obol."  Small  flasks,  presumably  of  a  different 
shape,  were  used  for  perfumes,  and  these  also  received  the  same  name ; 
such  a  perfume  bottle  is  mentioned  in  the  Andromeda  of  Sophocles,8 
and  Pollux  interprets  the  adjective  which  Sophocles  uses  in  this 
connection  as  meaning  /*oi>oAi'0ov9,  "  of  one  piece  of  stone."  The 

l  OJytity,  VI,  79,  215. 

*  Aristophanes,  Ran.  1200  f.,  Frag.  14;   Plato,  Charm.  161  E  [Hif>f>.  Mi*.  368  C  and  *chol.]. 
•Sophocles,   Frag.    133;    Aristophanes,   Plutut,  810  cd  Si   \jicv0oi  fripov    ytftovffi  ;    Etcln.    538; 
Frag.   8. 

B  I 


2  ATHENIAN  WHITE  LEKYTHOI 

use  of  lekythoi  in  burial  rites  is  expressly  mentioned  by  Aristophanes l 
in  an  often-quoted  passage,  which,  so  far  as  I  am  aware,  is  the  only 
passage  in  literature  referring  to  the  particular  class  of  lekythoi  to  be 
treated  in  the  present  monograph.  The  date  of  the  Ecclesiazousae 
(392  B.C.)  corresponds  to  the  period  represented  by  large  numbers 
of  the  smaller  extant  lekythoi.  Evidently  the  term  is  employed  by 
Greek  writers  to  mean  any  small  flask  such  as  may  be  used  for  oil  or 
perfumes.2 

Scarcely  more  light  as  to  the  exact  meaning  of  the  term  is  gained 
from  an  examination  of  vases  on  which  the  name  is  incised.3  One 
of  these  is  of  an  early  shape  from  which  the  later  pitcher,  as  well  as 
the  later  oil-flask,  may  have  been  derived ;  another  would  in  modern 
terminology  be  called  an  aryballos,  although  this  type  of  aryballoi 
seems  to  have  been  devised  to  take  the  place  of  earlier  lekythoi  when 
what  we  now  call  lekythoi  were  manufactured  solely  for  use  in  con- 
nection with  burial.  It  is,  therefore,  merely  a  matter  of  convenience 
when  modern  students  in  the  effort  for  a  more  exact  terminology 
employ  the  term  aryballos  to  cover  the  vessels  with  a  mouth  some- 
what like  that  on  lekythoi  and  a  full  body  flattened  on  the  bottom, 
while  they  limit  the  term  lekythos  to  slender  vases  with  a  separate  foot 
attached.  I  shall  attempt  to  outline  the  development  of  this  form 
in  the  latter  part  of  this  introduction.  The  typical  lekythos  shape 
was  attained  by  the  beginning  of  the  fifth  century,  i.e.  before  the 
outline  technique  became  general  on  this  type  of  vase,  and  the 
changes  which  appear  after  this  date  affect  only  details.  The  leky- 
thoi with  outline  drawing  on  a  white  ground  are  small  vases  ordina- 
rily from  six  to  twelve  inches  high,  with  a  high,  nearly  straight,  body 
on  a  disk-foot,  a  slender  neck  to  which  is  attached  the  small  high 
handle,  and  a  rather  large  bell-shaped  mouth.  The  upper  two-thirds 
of  the  body  is  covered  with  a  white  or  whitish  slip  on  which  the 
design  is  drawn  in  outline. 

The  lekythos  shape  on  which  this  outline  technique  appears 
deserves  attention  both  for  its  beauty  and  for  its  adaptation  to  the 

1  Eccles.   995   Ne.  rbv  ru>v  ypa<ptwv  UpLcrrov.      Tp.    oDros  8*  ten  rls; 

Ne.  3s  rotj  vexpoiffi  faypafat  rds  \rjxij6ovs. 
Cp.  1032  Kal  TULvluaai  ical  irapdOov  rets  \77Ki50ous. 

2  It  is  unnecessary  to  make  more  than  a  passing  mention  of  the  use  of  the  word  to  denote  a  drinking 
vessel  in  Aristophanes,  Frag.  399,  or  of  its  use  in  Cyprus  to  mean  small  pitcher.    Cp.  Athenaeus,  XI,  495C, 
and   Etym.  Magn.  563,   40.      The  word  \riKV0oiroi6s  occurs  in  Strabo,  XV,  717,  and  in  a  list  of  artisans 
in  Pollux,  VII,  182;  and  the  word  \ijKV0ovpy6s  is  used  by  Plutarch  (Peric/es,  12). 

8  C.I.G.  8337,  8346^,  8498.  Cp.  also  the  paper  by  O.  Jahn  in  Bericbte  der  Kon.  sack.  Gesell. 
1854,  S.  27  f. 


INTRODUCTION  3 

use  for  which  it  was  intended.  The  curve  of  the  body,  which  is 
scarcely  noticeable  until  it  rapidly  rounds  in  towards  the  bottom, 
is  balanced  by  a  reversal  of  a  similar  curve  in  the  shoulder  and  neck; 
the  reversal,  however,  is  not  mechanical,  for  one  member  of  the  latter 
curve  serves  to  mark  off  the  top  of  the  body,  while  the  other  member 
bounds  the  slender  neck.  In  the  full  mouth  sometimes  the  curve 
of  the  lower  part  of  the  body  is  repeated  in  a  modified  form  ;  some- 
times we  find  a  more  complex  curve,  giving  a  trumpet-shaped  mouth. 
Finally  the  delicate  handle  assumes  a  subordinate  place,  in  due  balance 
to  the  curve  of  the  neck  and  shoulder. 

The  handle  evidently  is  not  intended  for  carrying  the  vase,  nor 
is  the  high,  slender  vase  adapted  for  actual  use  as  an  oil-flask.  Some 
of  our  lekythoi  are  indeed  purely  ornamental,  for  the  neck  is  solid ; 
or  mainly  ornamental,  as  in  cases  where  only  a  small  tube  could  be 
utilized  for  some  very  precious  perfume,  or  again  where  only  the 
upper  part  of  the  body  is  the  receptacle,  to  which  access  is  gained 
through  the  neck.1  As  vases  for  perfumes,  however,  vases  to  stand 
in  a  woman's  apartments,  or  beside  the  corpse  before  it  was  carried 
out  to  be  buried,  they  are  made  in  a  shape  well  adapted  for  their  use. 
Moreover,  the  slender  neck  and  slight  hollow  in  the  mouth,  where  a 
few  drops  are  retained  when  some  of  the  contents  are  poured  out, 
render  them  suitable  for  a  perfume  of  which  only  a  few  drops  would 
be  used  at  a  time.  That  these  were  the  uses  of  the  particular  class  of 
lekythoi  to  be  discussed,  lekythoi  with  designs  in  outline  on  a  white 
ground,  is  evident  both  from  scenes  in  which  lekythoi  stand  on  the 
tomb  or  beside  the  dead  body,  and  again  from  the  fact  that  scenes 
from  the  women's  apartments  and  scenes  connected  with  the  burial 
of  the  dead  are  found  on  all  but  a  few  (earlier)  lekythoi  of  this 
class. 

The  class  of  vases  which  I  propose  to  treat  in  the  present  paper 
has  attracted  attention  only  within  the  last  forty  years,  the  period 
during  which  excavations  have  been  carried  on  extensively  in  Greece. 
A  few  of  the  funeral  lekythoi  were  published  by  Stackelberg  in  1835 
(Die  Graber  der  Hellenen}',  hardly  any  more  were  known  to  O.  Jahn 
in  1854  (Beschreibung  des  Vasensammlung  Kontg  Ludwtgs  in  der 
Pinakothek  zu  Muncben,  xxiii,  xxvii,  cxxxiv);  Pettier  (Etude,  p.  3) 
quotes  a  statement  of  M.  de  Witte  in  1866  to  the  effect  that  the 
principal  museums  of  Europe  possess  hardly  more  than  two  or  three 

l  Benndorf,  Griecb.  Sell.  Yat.  p.  29;  Brit.  Mut.  Cat.  Vaiti,  III,  D  48;  Court,  font  ftimtt 
ifAtbines,  1629;  Wicn,  Oester.  Museum,  1087. 


4  ATHENIAN  WHITE  LEKYTHOI 

specimens  each,  a  statement,  however,  which  did  not  hold  good  of 
the  British  Museum,  nor  of  collections  in  Athens.  The  Athenian 
collections  were  first  studied  carefully  by  Benndorf  and  by  Dumont, 
with  the  result  that  in  1874  the  latter  writer  estimates  the  number 
known  at  about  six  hundred.  Almost  every  grave  that  is  opened  in 
the  vicinity  of  Athens  adds  to  the  number,  and  a  large  number  have 
been  found  in  the  vicinity  of  Eretria  during  the  last  ten  or  fifteen 
years. 

There  can  be  no  question  that  this  white  ware  with  outline  draw- 
ing was  essentially  an  Athenian  product.  So  far  as  the  lekythoi  are 
concerned,  they  have  been  found  in  considerable  numbers  on  the 
island  of  Euboea,  and  also  in  Sicily,  although  more  than  three-quarters 
of  the  known  specimens  have  come  from  the  vicinity  of  Athens.  Iso- 
lated specimens  have  been  brought  from  Rhodes  (Brit.  Mus.  Cat.  II. 
B  633);  from  Cyprus  (Brit.  Mus.  Cat.  Ill,  D  51,  and  Bull.  Corr. 
Hell.  1898,  p.  417  f.);  from  Vulci  (Paris,  Cab.  Med.  Catalogue,  No. 
299;  de  Luynes,  pi.  16);  from  Locri  (Paris,  Cab.  Med.  Catalogue 
496,  497;  de  Luynes,  pi.  17-18);  and  in  Greece  some  specimens  have 
come  from  Salamis  (e.g.  Athens,  Couve,  1038);  from  Aegina  (Munich, 
Jahn,  xxvi) ;  from  Tanagra  (Pottier,  Etude,  p.  3) ;  from  Corinth,  as 
well  as  from  different  parts  of  Attica.1  The  fact  that  the  Corinthian 
lekythoi  are  rude  in  shape  and  rudely  decorated  separates  them  as  a 
class  from  all  the  rest;  they  seem  to  be  made  of  Corinthian  clay,  and 
if  so  they  are  undoubtedly  a  local  product.  The  question  whether 
they  are  a  local  product  or  imported  from  Athens,  arises  also  with 
reference  to  the  Sicilian  lekythoi,  and  here  the  answer  is  by  no  means 
assured.  Probably  these  lekythoi  came  from  Athens,  for  the  slight  dif- 
ferences between  them  and  the  lekythoi  found  in  Attica  are  just  such 
as  might  be  expected  between  products  for  export  and  products  for  the 
local  market.  Most  of  the  specimens  from  Italy  and  Sicily  are  drawn 
in  glaze  outlines.  At  Eretria,  on  the  island  of  Euboea,  most  if  not  all 
the  classes  of  Athenian  lekythoi  are  represented,  and  it  is  hardly  possi- 
ble to  avoid  the  conclusion  that  the  vases  found  here  are  of  Athenian 
manufacture.  The  possibility  still  remains  that  many  of  them  may 
have  been  made  by  Athenian  workmen  who  established  shops  in 
Eretria  itself. 

The  use  of  outline  drawing  on  vases  with  a  white  surface  can  hardly 
be  older  than  the  beginning  of  the  fifth  century  B.C.,  and  scenes  which 

1  The  Sigeion  white  lekythoi  mentioned  by  Jahn,  fasensamm/ung,  p.  xxvii,  were  without  doubt  in  the 
black-figured,  not  the  outline,  technique. 


INTRODUCTION  5 

represent  burial  and  the  tomb  do  not  appear  until  toward  the  middle 
of  the  century.  The  terminus  ad  quern  for  white  Athenian  lekythoi 
has  not  been  determined,  but  the  great  bulk  of  them  were  manufactured 
between  450  and  390  B.C.  That  they  continued  in  use  after  350  B.C. 
seems  most  unlikely. 

In  contrast  with  the  splendid  specimens  of  Greek  vase-painting 
found  in  Italian  tombs,  these  small  white  vases  "painted  for  the 
dead"  must  take  a  humble  place  in  our  estimation.  Most  of  them 
are  "shop-work,"  turned  out  rapidly  to  serve  a  temporary  purpose; 
on  even  the  best  of  them  the  white  surface  was  easily  injured,  and  no 
artist  has  deigned  to  sign  any  work  that  was  so  perishable.  But  in 
spite  of  the  instability  of  this  surface,  it  was  used  by  some  of  the  greater 
vase-painters  on  the  protected  interior  of  the  kylix,  with  most  in- 
teresting results.  The  greater  freedom  and  truth  of  the  single  line, 
which  make  these  drawings  superior  to  those  in  a  technique  where  the 
line  must  be  reinforced,  are  evident  not  only  on  these  kylikes,  some  of 
which  are  signed,  but  even  on  the  more  hasty  work  which  appears  on 
lekythoi.  The  best  of  these  lekythoi  will  easily  bear  comparison  with 
the  masterpieces  of  the  kylix-painter's  art.  And  even  in  the  ordinary 
run  of  lekythoi,  made  to  be  used  once  and  then  consigned  to  the  tomb, 
the  drawing  makes  clear  its  Greek  origin. 

The  main  interest  of  these  funeral  lekythoi,  however,  lies  in  the 
fact  that  the  scenes  they  represent  are  much  nearer  to  the  actual  life 
of  the  people  than  the  scenes  on  vases  that  are  in  themselves  much 
finer.  The  scenes  from  indoor  life  representing  women  at  home  are 
an  invaluable  addition  to  our  knowledge  of  Greek  home  life;  and  the 
testimony  of  the  funeral  lekythoi  sheds  light  on  many  an  obscure 
passage  in  ancient  writers  describing  the  customs  of  burial  and  of 
worship  at  the  tomb.  The  arrangement  of  garments  and  hair  at  dif- 
ferent periods,  the  pottery  vessels,  mirrors,  etc.,  used  in  the  toilet,  the 
prevalence  and  variety  of  domestic  animals,  —  these  are  but  a  few  of 
the  questions  on  which  light  is  shed  by  these  vases.  In  all  such  work 
the  scenes  become  stereotyped,  but  these  scenes  began  as  reproductions 
of  literal  fact,  and  the  process  by  which  the  types  became  fixed  can  be 
followed  in  the  specimens  which  remain  to  us.  With  the  discovery  of 
new  vases  and  the  more  careful  study  of  those  already  in  our  museums, 
much  new  information  as  to  the  home  and  as  to  the  worship  of  the 
dead  may  be  expected. 


ATHENIAN  WHITE  LEKYTHOI 


II 

A  casual  examination  of  so-called  white  lekythoi  is  sufficient  to  re- 
veal the  fact  that  they  are  not  strictly  a  homogeneous  set  of  vases;  on 
the  contrary,  the  process  of  their  development  may  be  followed  in 
detail,  and  the  line  of  demarcation  between  this  group  and  vases  of 
earlier  groups  is  not  at  first  sight  evident.  The  kind  of  slip  varies 
from  one  that  is  hard  and  yellow,  to  one  that  is  white  and  friable;  the 
use  of  a  black  glaze  on  neck  and  handle,  the  color  and  ornamentation 
of  the  shoulder,  the  presence  and  character  of  the  preliminary  sketch, 
and  the  use  of  color  are  the  most  important  variable  elements.  On 
the  other  hand,  the  general  shape  is  approximately  fixed,  the  upper 
part  of  the  body  is  regularly  covered  with  a  white  or  whitish  slip,  the 
base  of  the  body  and  the  mouth  are  black,  and  at  least  a  portion 
of  the  main  scene  with  which  the  vase  is  ornamented  is  drawn  in 
outline. 

For  the  purposes  of  the  present  investigation  the  term  white  lekythoi 
includes  all  lekythoi  with  a  whitish  slip  on  which  some  portion  of  the 
scene  is  drawn  in  outline.  Before  going  on  to  give  an  outline  of  the 
classification  which  I  propose  for  these  vases,  it  is  proper  for  me  to 
justify  my  decision  to  draw  the  line  at  this  point,  so  as  to  include  with 
the  white  lekythoi  a  class  of  vases  known  as  the  "vases  de  Locres." 
So  far  as  I  am  aware  the  French  savant  M.  Dumont  was  the  first  to 
study  this  group  of  vases  and  to  apply  this  name  to  them.1  The  name 
is  not  fortunate  and  has  not  been  retained;  but  the  class  has  been 
accepted  and  studied  as  a  class,  especially  by  French  scholars.  As 
defined  by  M.  Dumont  and  his  successors,  the  class  includes  vases  with 
black-figured  scenes  painted  on  a  yellowish  white  ground  and  vases 
with  outline  drawing  on  a  similar  ground.  The  appropriateness  of 
this  division  between  vases  with  a  yellowish  white  ground  and  the  so- 
called  "Attic"  white  lekythoi  is  the  question  now  to  be  considered. 

The  distinct  characteristics  of  "Locrian"  lekythoi  with  outline 
drawing,  as  distinguished  from  "Attic"  white  lekythoi,  are  stated  as 
follows  by  the  successor  of  M.  Dumont  in  this  line  of  study,  M.  E. 
Pettier.2  White  lekythoi  proper  differ  from  "Locrian"  lekythoi  with 
outline  drawing:  (i)  in  the  slip,  "La  couverte  blanche  des  lecythes 

1  Dumont,  "Les  peintures  ceramiques  de  la  Grece   propre,"    1874   (reprinted   from    the  Journal  des 
savants,    1872-1873)  ;    Cassette  des  beaux-arts,    1874,   I,    126.       Both  articles  are  reprinted  in    Dumont- 
Chaplain,  Les  ceramiques  de  la  Grece  propre,  Vol.  II. 

2  t'.tude  sur  les  lecytbes  blancs  attiques  a  representations  funcraires,  Paris,  1883,  pp.  4-5. 


INTRODUCTION  7 

attiques  est  d'une  couleur  laiteuse;  elle  est  meme  d'un  blanc  de 
neige  dans  les  lecythes  soignes;  elle  est  peu  luisante,  fragile,  souvent 
craquelee  ou  ecaillee.  La  couverte  des  vases  de  Locres  est  toujours 
d'un  blanc  sale  qui  tire  sur  le  jaune;  elle  est  lustree  et  adhere  forte- 
ment  a  1'argile  du  vase";  (2)  in  the  technique,  "Les  lecythes  blancs 
sont  peints  au  trait  en  couleur  rouge,  jaune,  plus  rarement  brune  ou 
noire.  Les  vases  de  Locres  sont  toujours  au  trait  noir  ou  brun-noir 
et,  le  plus  souvent,  les  personnages  sont  peints  interieurement  .  .  . 
comme  sur  les  vases  a  figures  noires";  (3)  in  the  subject  represented, 
"La  grande  majorite  des  lecythes  blancs  est  ornee  de  sujets  funeraires; 
sur  les  vases  de  Locres,  ce  sont  des  scenes  mythiques  ou  familieres." 
These  characteristics  are  sufficient  in  the  opinion  of  M.  Pettier  to  dis- 
tinguish clearly  the  two  classes.  And  yet  in  a  list  of  certain  Attic 
white  lekythoi  which  he  gives  in  a  note  on  this  same  page  (p.  5,  n.  i), 
numbers  6,  8,  14,  and  15  undoubtedly  belong  to  the  type  which  he  has 
defined  as  Locrian.1 

The  real  difficulty  with  this  principle  of  classification  lies  not  in 
the  failure  to  apply  it  successfully,  but  rather  in  the  fact  that  no  sharp 
line  of  difference  exists  at  the  point  where  a  distinction  of  the  two 
classes  is  proposed.  The  difference  between  the  earlier  yellow-white 
slip  and  the  later  chalky  slip  is  very  pronounced,  but  there  are  grada- 
tions in  the  series  between  the  two  well-marked  extremes;  black  or 
brown  outlines  appear  in  both  classes;  scenes  from  home  life  and  less 
commonly  mythological  scenes  are  found  in  both  classes.  Moreover, 
the  so-called  Locrian  vases  include  two  radically  distinct  groups,  the 
one  in  the  black-figured  technique,  the  other  in  a  modification  of  the 
red-figured  technique.  On  the  second  of  these  two  groups  we  find 
the  use  of  a  fine  line  of  thick  black  glaze,  a  distinct  characteristic  of 
the  red-figured  technique;  the  preliminary  sketch  with  a  dull  point  in 
the  soft  clay,  a  process  devised  by  the  painters  of  red-figured  vases,  is 
seen  on  the  more  careful  specimens  of  early  vases  with  outline  draw- 
ing; even  where  a  portion  of  the  figure  on  these  vases  is  painted  in 
silhouette,  one  can  sometimes  trace  its  outline  as  drawn  with  a  some- 
what finer  brush  before  the  interior  is  filled  in  solid  (perhaps  a  modifica- 
tion of  the  red-figured  technique  used  to  produce  a  silhouette  effect); 
finally,  the  whole  method  of  treating  garment  folds,  anatomy,  and 
features  of  the  face,  coincides  with  the  method  developed  by  painters 

1  The  attempt  to  use  this  division  of  outline  lekythoi  by  M.  Collignon  (Catalogue  Jet  vatei  feintt 
£  Atbcnes)  illustrates  its  imperfection.  His  numbers  398  and  678,  for  example,  are  of  the  same  Kyle,  if  not 
from  the  same  "shop,"  but  the  first  is  classed  as  Locrian,  the  second  as  an  Attic  white  lekythos. 


8  ATHENIAN  WHITE  LEKYTHOI 

of  red-figured  vases.  In  fact,  the  only  difference  between  the  drawing 
on  outline  vases  and  red-figured  vases  is  that  in  the  case  of  the  latter 
the  defining  line  of  the  figure  must  be  reinforced  and  then  used  as  the 
boundary  of  a  solid  black  surface.  There  is  practically  a  continuous 
development  from  vases  with  black  figures  on  a  whitish  ground  up  to 
the  vases  on  which  the  scene  is  drawn  in  outlines  of  dull  color  on  a 
pure  white  ground;  at  one  point  in  this  development,  however,  the 
influence  of  a  new  technique  comes  in  to  modify  its  course,  and  it  is  at 
just  this  point  where  a  line  may  reasonably  be  drawn  for  convenience 
of  classification.  As  vases  without  slip  are  classified  under  the  head- 
ings black-figured  and  red-figured,  so  vases  with  a  slip  may  be  classified 
as  black-figured  vases  and  vases  with  some  part  of  the  scene  drawn 
in  outline. 

The  general  class  of  white  lekythoi  with  outline  drawing  may  be 
subdivided  into  two  groups,  according  as  the  lines  of  the  drawing  are 
in  glaze  or  in  dull  color.  The  division  is  somewhat  arbitrary  inas- 
much as  a  few  types  of  one  group  have  counterparts  more  or  less  close 
under  the  other  group;  and  in  one  instance  where  this  connection  is 
very  important  I  propose  to  discuss  one  type  of  small  lekythoi  with 
drawing  in  a  peculiar  dull  red  color,  with  lekythoi  of  the  same  type 
drawn  in  glaze  outline.  In  spite  of  this  objection  the  division  is  in 
the  main  chronological,  and  it  is  especially  convenient  inasmuch  as  no 
gradations  have  to  be  considered.1  The  present  monograph  deals  with 
the  glaze-outline  lekythoi;  the  discussion  of  lekythoi  on  which  no  part 
of  the  outline  is  drawn  in  glaze,  is  reserved  for  another  occasion. 


Ill 

ANTECEDENTS    OF    WHITE    LEKYTHOI    WITH    OUTLINE    DRAWING 

The  general  shapes,  the  types  of  ornamentation,  and  the  character 
of  the  slip  which  appear  in  the  earlier  classes  of  white  lekythoi  with 
outline  drawing,  were  developed  in  the  black-figured  technique.  To 
these  vases,  then,  the  greater  number  of  which  are  earlier  than  vases 
with  outline  drawing  on  white,  we  must  turn  in  order  to  find  the  his- 
toric setting  for  the  present  class. 

1  On  a  few  vases  glaze  is  used  for  the  ornamentation  of  shoulder,  etc. ,  and  dull  color  for  the  drawing  of  the 
main  scene,  or  the  reverse.  All  these  vases  are  classed  with  the  first  group,  i.e.  they  are  treated  as  glaze-outline 
vases. 


INTRODUCTION  9 

I.    Shape. 

Under  this  heading  I  can  only  point  out  the  most  important  types 
in  the  development  of  the  lekythos  shape,  and  I  must  necessarily  pass 
over  the  many  intermediate  shapes  which  bridge  the  connection  from 
one  type  to  another.  A  natural  starting-point  is  found  in  the  "proto- 
Corinthian  "  type  (Furtw.  Berliner  Vasensammlung^  Taf.  v,  no.  102), 
a  shape  which  was  imitated  in  the  early  Italian  bucchero  ware,  but 
was  soon  discarded.  One  vase  of  somewhat  this  shape  is  interesting 
because  it  bears  an  early  incised  inscription  in  which  the  vase  itself  is 
called  a  lekythos  (C.I.G.  8337,  Bull.  Arch.  Napol.  II,  20).  From 
this  type,  which  was  closely  connected  with  some  of  the  Corinthian 
pitcher  shapes  (e.g.  Furtw.  Taf.  iv,  no.  19),  was  developed  the  later 
"  aryballos  "  (also  called  lekythos,  C.I.G.  8498)  as  well  as  the  lekythos 
proper.  The  earliest  shape  of  lekythos  in  black-figured  ware  (Furtw. 
Taf.  vi,  no.  174)  is  rude  indeed;  it  lacks  both  shoulder  and  neck,  and 
the  foot  is  merely  an  appendage  to  the  vase.  Most  of  the  black- 
figured  lekythoi,  however,  belong  to  two  general  classes,  —  (a)  a  low, 
rather  squat  shape  in  which  the  body  rapidly  contracts  from  the 
shoulder  down  (Furtw.  Taf.  vi,  no.  175  and  no.  178);  and  (b)  a  high, 
slender  type  with  a  body  that  is  nearly  cylindrical  from  the  shoulder 
down  to  within  a  short  distance  of  the  foot,  (a)  Lekythoi  of  the  squat 
type  continued  to  be  manufactured  for  a  long  time,  especially  in  the 
small  sizes  (cp.  infra,  A  I,  no.  9,  p.  34).  In  the  earlier  ones  the  mouth 
is  small  and  very  low,  the  neck  is  distinct  from  the  shoulder  (Furtw. 
Taf.  vi,  no.  175),  and  the  curve  of  the  body  is  a  somewhat  awkward 
kyma;  in  later  specimens  neck  and  shoulder  form  an  unbroken  grace- 
ful line,  and  the  curve  of  the  body  gradually  contracts  to  the  point 
where  the  base  may  form  an  organic  part  of  the  whole,  (b)  The 
slender  cylindrical  type  of  lekythos  with  the  picture  on  the  upper  part 
of  the  body  is  very  common,  and  many  of  the  specimens  are  relatively 
late  and  careless.  Early  in  the  fifth  century  a  modification  of  this 
type  was  introduced,  and  to  this  group  belong  most  of  the  careful 
specimens  of  black-figured  work.  A  heavier  but  finely  proportioned 
body,  a  rather  flat  shoulder  separated  plastically  from  the  shorter  neck, 
and  a  large  bell-shaped  mouth,  characterize  these  vases.  A  white 
ground  is  found  occasionally  on  the  slender  cylindrical  type  as  well 
as  on  the  finer  shape  which  succeeded,  and  it  was  this  latter  type 
which  was  adopted  for  the  more  careful  specimens  of  early  lekythoi 
with  outline  drawing.  The  smaller,  careless  lekythoi  with  outline 
drawing  show  a  great  variety  of  shape.  Commonly  neck  and  shoulder 


10 


ATHENIAN  WHITE  LEKYTHOI 


form  one  continuous  curve,  and  frequently  the  body  contracts  slightly, 
beginning  at  the  shoulder.  No  strictly  new  shapes  are  found  in  the 
first  class  (Class  A);  but  in  the  following  classes 
(Classes  B  and  C)  the  finer  shape  which  has  just 
_____  been  described  is  slightly  modified. 

)/  The  shape  of  certain  details  needs  to  be  de- 

scribed  more  definitely  than  was   possible  in  the 
general    statement    of   the    preceding    paragraph. 


The  mouth  of  the  earliest  black-figured  leky- 
thoi and  of  the  later  squat  type  was  broad 
and  shallow,  with  nearly 
straightedges  (Fig.  i).  The 
cylindrical  type  (b)  is  found 
with  two  different  kinds  of 
mouth:  one  spreading  rap- 
idly till  its  diameter  is  about 
twice  that  of  the  neck,  and 
again  at  the  upper  edge 
flaring  outward,  the  "  trumpet 


/ 


FIG.  2. 


\ 


mouth  (Fig.  2)  ; 
the  other  repeating  quite  accurately  the  curve  of  the 
neck,  but  on  a  shorter 
scale  (Fig.  3).  This 
second  kind  of  mouth 
is  practically  limited  to 


the  cylindrical  black-figured  lekythoi. 
In  the  final  type  of  black-figured  leky- 
thos  mentioned  above  the  "  trumpet  " 
mouth  sometimes  occurs,  but  more  com- 
monly the  main  curve  assumes  a  some- 
what parabolic  form  instead  of  flaring 


FlG- 


outward  at  the  upper  edge  (Fig.  4). 
This  "  bell-shaped  "  mouth  is 
commonly  found  on  outline  leky- 
thoi. In  the  case  of  earlier 
lekythoi  the  neck  is  short  and 
forms  a  continuous  curve  with  the 
shoulder  (Fig.  5).  On  lekythoi 
of  the  cylindrical  type  it  is  con- 
siderably longer  and  it  is  still  continuous  with  the  shoulder.  Finally, 
it  becomes  somewhat  shorter,  and  is  plastically  separated  from  the 


FIG.  5. 


INTRODUCTION 


ii 


FIG.  6. 


shoulder  by  a  slight  horizontal 
ridge  (Fig.  6). 

The  earlier  lekythoi  have  a 
foot  like  an  amphora,  gradually 
sloping  to  a  sharp  edge  and 
covered  with  a  black  glaze 
(Fig.  7).  This  type  of  foot 
disappeared  before  the  cylin- 
drical type  of  lekythos  came 
into  existence  and  was  replaced  by  a  plain  disk  with  a  hole  in  the 

centre,  into  which  was  placed  the  coni- 
cal point  of  the  lekythos  body;  this 
disk  had  a  simple  convex  edge  left  red 
(Fig.  8),  or  a  slightly  concave  edge 
with  a  narrow  line  of  black  around  it 
(Fig.  9),  or  again  it  consisted  of  two  members,  a  plain  band  of  origi- 
nal red  above,  and  below  this  a  narrow 
half-round  partly  or  wholly  painted 
black  (Fig.  10).  This  last  form  was 
commonly  used  on  lekythoi  of  the  cylin- 
drical type.  These  three  forms  all  ap- 
pear on  the  later  black-figured  lekythoi 
and  on  the  earlier  lekythoi  with  out- 
line drawing,  and  that  somewhat  indiscriminately,  although  the  latter 
form  was  more  common  on  smaller  specimens.  On  early  outline 
lekythoi  we  also  find  a  type  of  foot  which  came 
to  be  universally  used  on  these  lekythoi,  viz.  a 


FIG.  7. 


FIG.  8. 


FIG.  9. 


FIG.  10. 


disk  with  slightly  convex   edge  in   the  top  of  which   is   cut   a   slight 
furrow  (Fig.  11).    The  only  further  change  consists  in  the  substitution 

of  a  disk  with  its  under  side  concave 
so  that  it  only  rests  on  its  edges  (Fig. 
12),  instead  of  the  plain  disk  that  was 
used  at  first.  In  the  earlier  specimens 
the  foot  is  joined  abruptly  to  the  body; 
FIG.  12.  in  the  later  black-figured  lekythoi,  and 


12  ATHENIAN  WHITE  LEKYTHOI 

generally  in  the  careful  outline  lekythoi  even  of  the  earlier  classes,  a 
slight  torus  is  inserted  between  the  body  and  the  foot. 

Broken  specimens  of  lekythoi  throw  some  light  on  the  process  of 
construction.  It  would  appear  that  the  vase  was  constructed  in  four 
or  five  pieces,  which  were  attached  to  each  other  while  the  clay  was 
still  wet.  The  body  of  the  vase  with  its  conical  bottom,  the  flat,  round 
foot,  the  upper  part  of  the  vase  (or  simply  the  neck  and  mouth),  and 
the  handle  were  made  separately;  in  some  specimens  the  shoulder  was 
made  by  itself,  and  then  attached  to  the  neck  and  mouth,  which  were 
moulded  in  one  piece.  The  process  of  moulding  the  round  parts  on 
the  wheel,  and  the  shaping  of  the  handle  in  a  form,  as  well  as  the 
later  processes  of  assembling  the  parts,  drying,  and  baking,  are  the 
same  for  lekythoi  as  for  other  vases. 

2.    Black  Glaze  and  Ornamentation. 

In  the  case  of  early  Attic  lekythoi  the  mouth,  the  back  of  the 
handle,  the  lower  part  of  the  body,  and  the  foot,  were  covered  with 
the  black  glaze  or  varnish  in  which  the  scenes  were  painted.  This 
distribution  of  black  continued  in  all  but  the  latest  specimens  of  black- 
figured  lekythoi  (with  the  exception  that  the  edge  of  the  foot  commonly 
was  left  red),  and  it  was  adopted  for  most  of  the  smaller  examples  of 
early  outline  lekythoi.  Beginning  with  the  latest  type  of  black- 
figured  lekythoi,  and  becoming  all  but  universal  after  the  early  period 
of  outline  lekythoi,  a  new  and  wider  use  of  the  black  glaze  is  found. 
Not  only  the  mouth  but  also  the  neck  of  the  lekythos,  not  only  the 
back  of  the  handle  but  now  the  whole  handle,  is  covered  with  black, 
while  the  foot  is  left  red  or  in  some  early  specimens  adorned  with  a 
narrow  stripe  of  black.1  The  use  of  a  white  slip  on  the  neck,  either 
plain  or  adorned  with  a  band  of  ivy-leaves,  is  extremely  rare;  in  other 
instances  the  neck  is  without  ornament. 

In  the  early  Attic  lekythoi  the  shoulder  bears  a  frieze  of  animals, 
commonly  a  pair  of  cocks,  quite  rarely  a  scene  from  human  life.  In 
later  specimens  of  the  squat  type  (a  above)  this  is  replaced  by  a 
band  of  connected  lotus  buds  pointing  down.  In  the  later  squat  forms 
and  in  the  cylindrical  type  (b  above)  the  lines  connecting  the  lotus 
buds  are  omitted  and  the  buds  themselves  are  carelessly  drawn;  later, 
two  concentric  rows  of  bars  are  all  that  remains  of  this  ornament,  and 
these  bars  are  the  normal  decoration  for  the  shoulder  of  small  lekythoi 

1  A  few  black-figured  lekythoi  of  the  latest  type,  however,  retain  the  red  neck,  e.g.  Brit.  Mus.  Cat. 
Vaiet,  II,  B  542. 


INTRODUCTION  13 

(both  black-figured  and  red-figured),  and  of  earlier  small  outline 
lekythoi.  In  the  latest  type  of  black-figured  lekythoi  the  shoulder 
bears  a  vine  with  palmettes,  —  three  palmettes  connected  in  front 
and  another  free  one  on  each  side;  above  them  in  the  finer  specimens 
is  a  narrow  band  of  short  fine  bars  between  two  concentric  circles,  and 
often  four  or  five  small  dots  appear  in  the  spaces  between  the  palmettes. 
This  pattern  continues  on  the  larger  outline  lekythoi  with  red  shoulder, 
and  is  only  changed  at  about  the  time  when  a  white  slip  begins  to  be 
used  on  the  shoulder. 

With  the  appearance  of  the  cylindrical  type  of  lekythos  an  orna- 
mental bandy  a  maeander  or  some  other  figure,  begins  to  be  used  at 
the  top  of  the  body  to  bound  the  main  scene.  A  checker-board  pattern 
(Fig.  13),  or  an  imitation  of  this  obtained  by  placing  rows  of  dots 


FIG.  13.  FIG.  14.  FIG.  15. 

diagonally  between  horizontal  lines(  Fig.  14),  or  simply  a  double  row  of 
dots,  is  the  commonest  ornament  at  first  (Fig.  15);  later,  these  gradu- 
ally disappear  before  the  maeander.  In  the  latest 
type  of  black-figured  lekythoi  the  maeander  is  often  -i 
broken  by  a  square  in  which  is  placed  a  horizon-  J 
tal  cross,  and  this  same  ornamental  band  is  found 
on  many  of  the  earlier  outline  lekythoi  (Fig.  16). 

The  black  glaze  below  the  main  scene  is  rarely  absolutely  plain. 
On  lekythoi  of  the  squat  type  it  is  ordinarily  broken  by  a  rather 
wide  line  left  in  the  natural  red  color  of  the  clay;  on  lekythoi  of  the 
cylindrical  type  we  find  this  same  red  line  with  perhaps  purple  lines 
on  the  black  above  and  below  it;  while  on  the  latest  black-figured 
lekythoi  the  upper  edge  of  the  black  base  is  ornamented  by  two  narrow 
purple  lines,  but  it  is  otherwise  unbroken.  The  last  type,  i.e.  two 
purple  lines  on  the  upper  edge  of  the  black  base,  appears  on  the  larger 
early  outline  lekythoi;  the  type  mentioned  second,  lines  left  in  the 
natural  red  of  the  clay,  or  a  reserved  red  line  with  purple  lines  added 
on  the  black  glaze  of  the  base,  on  the  smaller  more  careless  outline 
lekythoi  of  the  first  period. 

3.    The  White  Slip. 

The  white  slip  or  engobe  which  characterizes  the  lekythoi  with 
outline  drawing,  is  found  earlier  on  specimens  of  the   black-figured 


i4  ATHENIAN  WHITE  LEKYTHOI 

ware.  Two  pitchers  signed  by  Nikosthenes  (Brunn,  Gnechische 
Kiinstler,  nos.  30,  31,  now  in  the  Louvre)  are  perhaps  the  earliest 
examples  of  the  white  slip  in  Attic  black-figured  ware;  the  British 
Museum  possesses  a  pitcher  of  very  similar  style  but  unsigned.  These 
pitchers  belong  to  the  earlier  work  of  Nikosthenes  and  no  doubt  fall 
before  500  B.C.  From  what  we  know  of  Nikosthenes  it  is  extremely 
probable  that  he  introduced  the  use  of  the  white  slip  into  Athens,1 
and  it  is  generally  held  that  he  adopted  this  technique  from  Naukratis 
in  Egypt.  The  fact  that  some  fragments  of  this  Naukratis  ware  have 
been  found  on  the  Acropolis  at  Athens,2  is  sufficient  to  prove  that  it 
was  not  unknown  there.  The  innovation  became  popular,  especially 
when  outline  drawing  on  white,  which  was  rarely  practised  at  Naukratis, 
began  to  be  used  at  Athens;  and  for  two  centuries  the  white  slip  con- 
tinued to  be  used  on  certain  classes  of  vases. 

Of  the  earlier  history  of  the  use  of  a  white  slip  it  is  not  my  purpose 
to  speak  here  in  detail.  Even  in  certain  classes  of  Mycenaean  ware  a 
black,  or  red,  or  yellow-white  surface  was  prepared  for  the  design. 
The  next  time  in  the  history  of  vase-painting  when  a  slip  appears,  is 
on  certain  large  amphorae  fromMelos;3  here  the  slip  is  yellowish,  and 
the  design  is  painted  on  it  in  a  reddish  brown,  rather  dull  glaze.  The 
large  hydriae  of  "  island  "  ware  (as  it  may  now  be  called),  recently 
found  on  the  island  of  Rheneia,  have  a  somewhat  whiter  slip,4  the 
surface  is  more  even,  but  less  shiny  than  that  of  the  Melian  ware.  A 
similar  slip  is  found  on  early  ware  (mostly  plates  and  oinochoai)  from 
the  island  of  Rhodes; 5  but  it  did  not  long  continue  in  use,  if  one  may 
judge  from  the  fact  that  much  the  same  ware  is  found  without  the 
slip.  It  was  probably  from  Ionia  that  the  use  of  a  slip  was  introduced 
into  North  Africa.  On  the  ware  now  connected  with  Kyrene  we  find 
a  hard  greenish  yellow  slip  of  very  even  texture.  This  slip,  which  is 
much  like  the  surface  of  the  clay  of  which  the  vase  is  made  when  that 
clay  has  been  very  carefully  washed,  is  applied  both  to  the  interior 
and  to  a  band  on  the  outside  of  these  kylikes.  On  the  Naukratis  ware, 
from  which  the  use  of  a  slip  may  have  been  introduced  into  Athens, 
the  slip  has  none  of  the  green  tint  which  characterizes  the  ware  from 
Kyrene,  and  its  texture  seems  quite  different.  It  is  more  like  a  paint 

1  Cp.  Loeschcke,  Arcb.  Zeit.  1881,  S.  34  f. 

2  Atb.  Mitch.  1889,  S.  341. 

3  Conze,  Meliscbe  Tbon^efasse,   1862  j   cp.  Arcb.   Zeit.   1854,  S.   181,  Taf.   6l  ;   Birch-Walters,  His- 
tory of  Ancient  Pottery,  I,  301. 

*  Birch-Walters,  I,  302. 

6  Longperier,  Mas.  Napol.  Ill,  Taf.  52  and  text;   Birch- Walters,  I,  334. 


INTRODUCTION 


'5 


applied  after  the  vase  is  completed,  than  like  a  slip  of  clay  similar  to 
that  used  in  the  manufacture  of  the  vase.  Probably  the  use  of  it  in 
Egypt  is  to  be  connected  with  the  ceramic  industry  in  Asia  Minor. 
It  is  certainly  instructive  to  compare  the  Naukratis  ware  with  the 
remarkable  series  of  sarcophagi  from  Klazomenai,  examples  of  which 
are  now  to  be  found  in  the  principal  museums  of  Europe.1  These  are 
covered  with  a  fine  white  slip  which  scales  off  in  flakes;  on  this  the 
design  is  painted  in  a  dark  reddish  brown,  and  fine  white  lines  are 
added  on  the  brown  surface  to  indicate  details. 

The  earliest  examples  of  a  slip  on  Athenian  ware  are  of  a  dirty 
yellow  color,  and  the  surface  is  very  smooth  but  not  shiny;  as  has  been 
said  this  slip  occurs  on  pitchers  of  some  size.2  A  few  lekythoi  of  the 
squat  type  have  a  slip  over  the  upper  part  of  the  body,  but  it  is  of  a 
cruder  sort  than  that  on  the  pitchers  of  Nikosthenes.  The  color  is 
brownish,  and  it  is  so  thin  that  the  red  of  the  clay  shows  through;  ap- 
parently it  is  put  on  with  a  brush  while  the  vase  is  on  the  wheel,  and 
often  it  is  not  distributed  evenly.  On  lekythoi  of  this  type  and  of  the 
cylindrical  type  a  thicker  brownish  wash  of  similar  consistency  ap- 
pears occasionally,  but  in  the  later  specimens  the  color  tends  toward 
a  yellowish  white.  Rarely  this  slip  is  covered  with  a  transparent 
yellowish  varnish  or  glaze.  On  later  black-figured  lekythoi  of  the 
developed  type  we  often  find  a  creamy  white  slip  of  very  smooth  con- 
sistency which  resembles  the  slip  on  the  best  of  the  white  kylikes  more 
than  that  on  other  lekythoi.  Finally,  on  most  of  the  outline  lekythoi 
belonging  to  the  first  class  to  be  considered  (Class  A),  the  slip  is  thin 
and  hard,  closely  attached  to  the  body  of  the  vase,  and  of  a  dirty 
brown  color.  The  chalky  slip  of  later  lekythoi  is  not  found  on  any 
of  the  earlier  specimens. 

On  lekythoi  of  the  squat  type  the  slip  covers  the  main  part  of  the 
body;  on  cylindrical  lekythoi  it  comes  scarcely  below  the  middle  of 
the  body;  and  on  lekythoi  of  the  developed  type  it  covers  about  two- 
thirds  of  the  body.  Only  sporadically  does  it  appear  on  the  shoulder 
or  the  neck  until  about  the  middle  of  the  fifth  century;  from  this  time 
on  it  is  regularly  placed  on  the  shoulder  as  well  as  on  the  body. 

The  result  of  this  cursory  survey  of  the  use  of  a  white  slip  is  to 
show  that  it  has  a  more  or  less  continuous  history  from  very  early 
times.  Perhaps  one  other  factor  should  receive  greater  weight  in 
explaining  its  appearance  on  Athenian  vases  at  the  beginning  of  the 
fifth  century.  A  painted  placque,  found  on  the  Acropolis  and  pre- 

»  Birch-Walters,  I,  j6a  ;  Bull.  Corr.  Hell.  1890,  p.  376  f.  'Louvre  F  116,  117. 


16  ATHENIAN  WHITE  LEKYTHOI 


served  in  the  Acropolis  Museum  ('E^>.  'Ap^.  1887,  pi.  6),  has  a 
creamy  white  slip  on  a  pottery  foundation.  Enough  examples  of 
painted  stelai  remain  to  show  that  a  white  marble  surface  was  often 
used  for  painted  figures  at  about  this  period.  The  substitution  of  a 
pottery  placque  covered  with  white  paint  or  with  some  form  of  white 
slip  for  a  slab  of  marble,  would  be  quite  natural,  independently  of  the 
use  of  a  white  slip  on  vases.  Apparently  we  are  justified  in  connect- 
ing the  introduction  of  vases  with  a  white  slip  into  Athens  with  the 
effort  for  novelty  which  marked  the  workshop  of  Nikosthenes;  it  is 
possible,  however,  that  instead  of  introducing  this  type  of  vase  from 
Naukratis,  he  rather  adapted  a  process  which  was  already  in  use  for 
painted  placques.  In  any  case  both  the  practice  of  painting  on  white 
placques,  and  the  presence  of  fragments  of  Naukratis  ware  with  a 
white  slip  in  Athens,  must  be  considered  in  studying  the  appearance 

of  a  white  slip  on  Athenian  vases  at  this  time. 

r 

4.    The  Outline  Technique. 

It  is  a  curious  fact  that  the  practice  of  drawing  some  part  or  parts 
of  the  figure  in  outline  was  associated  with  the  use  of  a  white  slip  from 
comparatively  early  times.  On  the  Melian  amphorae  the  heads  of 
women  were  drawn  in  outline,  and  the  same  is  true  of  the  hydriae 
found  on  the  island  of  Rheneia.  On  an  early  series  of  Rhodes  plates 
(e.g.  the  Euphorbos  plate,  Brit.  Mus.  Vase  Cat.  II,  A  268)  most  of  the 
scene  is  drawn  in  outline.  On  the  Rhodes  oinochoai  with  a  white 
slip,  and  on  the  Rheneia  hydriae  the  heads  of  animals  were  treated  as 
on  the  Melian  amphorae;  and  on  the  Rhodes  ware  a  space  was  com- 
monly left  white  underneath  the  bodies  of  animals.  On  the  sarcophagi 
from  Klazomenai  we  find  the  heads  of  animals  drawn  in  outline  and 
the  eyes  are  of  much  the  same  type  as  those  on  the  wares  that  have  just 
been  considered.  The  Kyrene  vases  show  no  use  of  outline  drawing. 
On  the  Naukratis  pottery,  however,  there  are  some  repetitions  of  the 
Rhodian  usage  ;  or  again  the  faces  of  the  women  are  covered  with  a 
white  enamel  paint,  whiter  than  the  slip,  and  on  this  surface  the  de- 
tails are  drawn  in  outline.1  This  use  of  lines  on  white  to  give  detail 
was  already  practised  at  Athens  where  the  flesh  of  women  was  given  in 
white  on  normal  black-figured  ware.  An  examination  of  the  female 
profile  and  of  the  treatment  of  women's  eyes  and  hair,  as  well  as  of 
animals'  heads,  shows  that  the  use  of  outline  technique  was  not  de- 
veloped sporadically  in  different  places,  but  rather  that  it  formed  a 

1  E.g.  Jour.  Hell.  Stud.  pi.  Ixxix. 


INTRODUCTION  17 

continuous  development.  Whether  it  arose  in  Asia  Minor  or  in  the 
islands  cannot  be  determined  until  the  matter  has  been  more  ex- 
haustively studied;  the  hydriae  found  on  Rheneia,  however,  do  supply 
a  definite  link  between  the  Melos  amphorae  and  the  oinochoai  (and 
vases  with  similar  technique)  found  on  the  island  of  Rhodes. 

On  a  black-figured  amphora  signed  by  Amasis  and  on  a  few  others 
in  the  style  of  Amasis  (Berlin  Inv.  3210;  de  Luynes,  Vases  peints, 
pi.  Ill,  cp.  also  Wien.  Vorlegebl.  1889,  IV,  4;  Jour.  Hell.  Stud.  1899, 
p.  140,  n.  i),  the  head  of  a  female  figure  is  drawn  in  outline  on  the 
red  ground.  Curiously  enough  the  drawing  is  quite  like  that  on  the 
island  ware  just  referred  to.  In  particular  the  eye  differs  from  the 
ordinary  female  eye  on  black-figured  ware  with 
its  rounded  ends  (Fig.  ijd)  and  from  the  more  "^ 

careless  incised  eye  on  later  black-figured  ware 
(Fig.  17^),  and  in  contrast  with  these  types  it  has 
the  long  sharp  ends  that  appear  on  the  island 
ware  and  on  some  examples  from  Naukratis 
(Fig.  17^).  On  a  few  vases  of  this  period,  as  on 
a  later  small  amphora  at  Athens,  a  female  head 
overlaps  a  male  head,  and  is  drawn  in  outline  on 
red  instead  of  having  the  outline  incised,  to  make 
it  more  distinct.  Winter  in  an  interesting  article  (Arch.  Zeit.  1885, 
S.  187  f.)  has  called  attention  to  small  female  heads  drawn  in  outline 
on  a  series  of  kylikes  by  Eucheiros,  Hermogenes,  and  other  "  Klein- 
meister."  This  style,  dating  from  perhaps  the  middle  of  the  sixth 
century  B.C.,  is  an  anticipation  both  of  the  red-figured  methods,  and 
even  more  exactly  of  the  later  outline  technique  on  white.  It  is  found 
on  relatively  few  vases  except  kylikes,  unless  the  Gorgoneion  found  in 
the  interior  of  kylikes  and  rarely  on  other  vases,  and  the  bearded  mask 
of  Dionysos  or  a  satyr  (also  en  face,  cp.  Munich,  Jahn  1113)  be  reckoned 
as  another  form  of  the  same  style.  In  the  same  article  Winter  pub- 
lishes a  single  instance  of  a  profile  head  drawn  in  outline  on  the  red 
clay  ground  from  the  period  of  the  severe  red-figured  style;  he  also 
adds  a  very  similar  head  drawn  in  outline  on  marble  which  is  interest- 
ing as  showing  that  this  outline  technique  was  not  at  this  time  limited 
to  vases.  I  have  already  referred  to  the  large  pottery  placque  found  on 
the  Acropolis,  which  bears  the  figure  of  a  warrior  drawn  in  outline  on 
a  white  slip. 

The  last  three  instances  come  from  the  same  period  as  the  early 
white  lekythoi  with  outline  drawing.     These  lekythoi  cannot  be  con- 


i8  ATHENIAN  WHITE  LEKYTHOI 

nected  directly  with  the  female  heads  on  the  early  "Kleinmeister" 
kylikes,  for  they  are  separated  from  them  by  a  considerable  interval. 
They  are,  however,  closely  connected  with  the  pottery  placque  and  the 
marble  slab  just  mentioned;  and  the  Bonn  kylix  published  by  Winter 
may  be  regarded  as  their  immediate  prototype  so  far  as  vases  are  con- 
cerned. In  other  words,  they  are  to  be  regarded  as  a  variation  on  the 
red-figured  technique,  a  variation  probably  caused  by  the  use  of  out- 
line drawing  on  white  for  tablet  and  mural  painting. 

NOTE.  —  A  complete  study  of  outline  drawing  would  have  to  consider  not  only  the 
outline  drawing  by  incised  lines  on  a  metal  surface,  but  also  the  imitation  of  this  in  pottery; 
namely,  drawing  by  incised  lines  on  a  surface  painted  solid  black.  And  as  the  vases 
with  a  white  ground  first  received  monochrome  drawings  in  outline,  and  later  colors 
were  used  to  bring  out  certain  surfaces,  in  particular  garments,  so  the  black  vases  with 
outline  drawings  received  added  colors  for  flesh  parts  as  well  as  for  garments.  Another 
group  of  vases  with  rude  outline  drawings  (e.g.  Berlin,  Inv.  3382,  and  Athens,  Nat.  Mus. 
537,  Cv.  1120)  is  hardly  important  enough  to  need  mention.  But  the  occasional  out- 
line faces  on  the  early  Corinthian  tablets  from  the  Isthmus  (Berlin,  Furtw.  475,  479, 
etc.)  and  the  Corinthian  aryballoi  (e.g.  Berlin,  Furtw.  1042,  1094)  should  not  be  entirely 
overlooked. 


LEKYTHOI  WITH  DRAWING  IN  GLAZE  LINES 

The  general  lines  for  the  classification  of  white  lekythoi  have 
already  been  laid  down  by  Dumont,  Pottier,  Furtwangler,  and  Bosan- 
quet;  nevertheless,  much  remains  to  be  done  both  in  the  careful  deter- 
mination of  particular  classes  and  in  the  study  of  the  relations  existing 
between  these  classes  and  other  types  of  vases.  A  general  division 
may  be  made  between  lekythoi  on  which  ornament  or  scene  or  both  are 
drawn  in  a  glaze  color,  and  lekythoi  on  which  appear  only  lines  of  dull 
color,  usually  a  gray  or  pink.  There  are  only  three  or  four  specimens 
known  to  me,  as  to  which  there  is  any  real  doubt  about  the  nature  of 
the  color  in  which  the  lines  are  drawn.  And  the  general  grouping  I 
propose  has  a  second  advantage  in  that  it  is  in  the  main  chronological 
and  not  merely  mechanical.  Vases  with  drawing  in  glaze  lines  belong 
to  the  fifth  century,  and  for  the  most  part  to  the  middle  or  earlier  part 
of  the  century;  while  vases  with  drawing  in  dull  color  were  not  manu- 
factured till  after  the  middle  of  the  fifth  century.  The  only  practical 
difficulty  in  drawing  a  hard  and  fast  line  at  this  point  arises  in  the  fact 
that  one  group  of  vases  with  a  peculiar  thick  outline  color  is  so  closely 
allied  to  one  group  on  which  the  drawing  is  in  glaze,  that  it  seems 
proper  to  discuss  these  two  groups  together  under  the  present  heading 
(i.e.  D  VIII,  series  I  and  series  2).  As  a  matter  of  fact  the  dull  color 
used  for  the  outlines  in  the  class  referred  to  (D  VIII,  series  2)  is  no 
more  like  that  ordinarily  used  on  lekythoi  with  drawing  in  dull  color 
than  it  is  like  the  glaze  color  on  the  lekythoi  now  under  discussion. 

The  general  classification  of  lekythoi  with  drawing  in  glaze  lines  is 
indicated  by  the  table  which  faces  the  title-page.  Four  main  groups 
may  easily  be  distinguished.  Group  A  includes  vases  which  are 
somewhat  closely  connected  with  lekythoi  having  black  figures  on  a 
white  ground.  The  slip  is  a  dirty  yellow  or  brownish  as  on  these  black- 
figured  lekythoi,  and  solid  black  is  often  found  either  for  the  flesh  or 
for  a  garment  or  accessory  (but  not  for  both).  The  distinguishing 
feature  of  the  group  as  a  group  is  the  fact  that  part  or  all  of  the  scene 
is  outlined  in  fine  relief  lines  of  black  glaze.  As  a  whole  this  group  is 
earlier  than  the  groups  which  follow  it  in  the  table,  and  coincides  in 

'9 


20  ATHENIAN   WHITE   LEKYTHOI 

time  with  the  later  black-figured  lekythoi  and  in  general  with  the 
"severe"  red-figured  vases.  Group  B  is  distinguished  by  the  rather 
coarse  lines  of  thinner  brownish  glaze  on  a  slip  like  that  in  Group  A; 
the  fact  that  ordinarily  an  enamel  white  is  added  for  women's  flesh 
and  for  some  accessories  is  a  convenient  means  of  determining  most 
of  the  vases  which  come  under  this  heading.1  This  group,  which  is 
unique  and  with  a  few  exceptions  belongs  to  a  quite  limited  period, 
succeeds  Group  A  in  time,  and  precedes  Groups  C  and  D.  The  short- 
ness of  the  period  in  which  this  enamel  white  was  used  is  easily 
explained  by  the  fact  that  the  discovery  of  a  fine  white  slip,  the  use 
of  which  soon  became  universal,  made  it  no  longer  feasible  to  add 
white  paint  for  details. 

Group  C  is  easily  distinguished  by  the  character  of  the  slip.  This 
is  a  fine  white  paste,  almost  shiny  when  it  is  polished  and  applied  in  a 
thicker  coating  than  the  earlier  brownish  slip;  as  compared  with  the 
slip  on  vases  with  outlines  drawn  in  dull  color  it  is  of  a  firmer,  more 
even  texture  and  less  friable,  although  no  sharp  line  of  division  exists 
at  this  point.  Most  of  the  vases  of  this  group  have  on  the  shoulder 
the  typical  palmettes  of  later  lekythoi;  the  maeander  above  the  main 
scene  assumes  a  stereotyped  form  which  does  not  often  occur  outside 
this  group;  while  the  drawing  is  in  rather  fine  lines  of  glaze  varying 
from  yellow  to  dark  brown.  This  group  includes  the  greater  number 
of  really  fine  white  lekythoi,  and  it  is  only  beginning  to  receive  the 
attention  it  deserves.2  Under  this  general  heading  are  included  the 
first  experiments  in  the  use  of  a  dull  color  for  a  part  of  the  drawing, 
now  for  the  shoulder  or  shoulder  and  maeander  (while  the  main  scene 
is  in  glaze  lines),  now  for  the  main  scene  (while  the  remaining  decora- 
tion is  in  glaze  lines). 

Group  D,  as  I  shall  attempt  to  show,  does  not  succeed  Group  C, 
but  is  for  the  most  part  contemporary  with  it.  The  same  white  slip 
is  used  on  these  small  careless  vases  as  on  the  finer  ones  of  the  group 
just  referred  to,  only  that  here  it  is  more  carelessly  applied  and  is 
often  decidedly  shiny,  as  though  a  transparent  varnish  had  been  put 
on  after  the  vase  was  completed.  As  on  the  small  vases  of  Group  A 
the  neck  and  shoulder  are  red  and  the  shoulder  commonly  has  the  old 
two  concentric  rows  of  bars.  The  drawing  on  typical  specimens  is  in 
coarse  lines  of  yellow  glaze,  and  the  scene  is  usually  one  figure  at  the 

1  Cp.  Bosanquet,  Jour.  Hell.  Stud.  1896,  p.  164  f.,  where  a  series  of  vases  belonging  to  this  group  are 
carefully  studied. 

2  Sec  Bosanquet,  Jour.  Hell.  Stud.  XIX  (1899),  p.  169  f. 


CLASSIFICATION  21 

tomb.  On  a  few  lekythoi  closely  allied  to  the  main  series  of  Group 
D  a  thick,  muddy  paint  is  used  for  part  or  all  of  the  drawing.  This 
last  class  (Class  VIII,  2)  is  most  conveniently  discussed  at  this  point, 
so  that  I  include  it  under  Group  D,  even  though  some  specimens 
show  no  glaze  at  all  for  the  outlines.1 

At  this  point  in  the  discussion  it  is  necessary  only  to  give  the  general 
lines  of  classification;  to  do  more  than  this  would  only  tend  to  pro- 
duce confusion,  consequently  I  postpone  all  treatment  of  the  classes 
which  come  under  these  groups  to  the  detailed  discussion  of  each  group. 
What  has  been  said  already  should  be  sufficient  to  enable  the  reader  to 
turn  at  once  to  the  group  under  which  will  fall  any  given  lekythos  that 
he  is  studying. 

NOTE.  —  In  dealing  with  any  such  classification  the  student  hardly  needs  to  be 
reminded  that  it  is  not  necessarily  genetic.  The  first  purpose  of  classification  is  to  sort 
out  the  material  so  that  what  is  essentially  alike  may  be  grouped  together  for  purposes 
of  study;  with  this  in  view  I  have  attempted  to  select  the  most  important  technical  dif- 
ferences as  the  basis  for  a  classification  of  white  lekythoi.  Groups  selected  in  this  man- 
ner represent  sometimes  successive  types,  sometimes  only  different  styles,  the  work  of 
different  shops  or  different  artisans  instead  of  steps  in  a  consecutive  series.  The  groups 
which  have  already  been  defined  belong,  as  I  have  attempted  to  point  out,  to  both  of 
these  two  sorts.  Groups  A,  B,  and  C  are  in  reality  successive  stages  of  development, 
although  they  overlap,  and  perhaps  vases  belonging  to  each  continued  to  be  made  even 
after  the  use  of  a  dull  color  on  a  white  chalky  surface  became  general.  Group  D  neither 
succeeds  nor  precedes  Group  C,  but  it  represents  a  different  style  which  probably  began 
about  the  same  time  and  may  have  continued  long  after  vases  of  Group  C  were  manu- 
factured in  any  numbers.  So  far  as  the  classes  under  these  groups  are  concerned,  it  is 
probably  useless  to  attempt  a  chronological  classification;  and  yet  even  here  some 
classes  do  represent  an  advance  in  type  over  preceding  classes.  The  primary  aim  of  these 
classes,  however,  is  simply  to  group  together  vases  that  belong  together,  in  order  that 
they  may  be  studied  by  classes  and  not  simply  as  isolated  specimens. 

1  M.  Dumont  and  M.  Pettier  include  this  Group  D,  and  ordinarily  Group  C  also,  under  white  "  Attic  " 
lekythoi.  Group  B  comes  under  their  definition  of  "  Locrian"  lekythoi,  but  such  vases  as  Athens  No.  1754, 
Dumont-Chaplain,  pi.  xxxvii,  are  treated  as  "  Attic  "  white  lekythoi,  in  spite  of  the  definition. 


GROUP  A.     LEKYTHOI   WITH   DRAWING   IN   FINE   BLACK   RELIEF 
LINES   ON  A   BROWN   SLIP 

The  first  group  of  outline  lekythoi,  viz.  lekythoi  on  which  the  out- 
lines are  drawn  in  fine  black  lines  of  glaze  standing  out  in  relief  on  a 
brownish  slip,  is  closely  connected  with  the  contemporaneous  black- 
figured  lekythoi.  The  same  shapes  are  found  in  both  classes,  and  the 
decoration  is  practically  the  same,  namely,  an  ornament  in  black  glaze 
on  the  red  shoulder,  a  band  usually  of  maeander  above  the  main  scene 
and  often  two  purple  lines  on  the  black  just  below  it.  No  new  variety 
of  slip  is  introduced  with  the  new  technique.  On  all  the  vases  of  this 
group  the  slip  is  firm  and  hard,  adhering  closely  to  the  body  of  the 
vase;  its  color  is  usually  a  dirty  brownish  yellow,  and  the  surface  is 
rather  smooth  but  not  shiny.  Nor  does  the  artist  hesitate  to  employ 
the  silhouette  method,  especially  for  a  garment,  when  it  is  suited  to  his 
end.  Finally  —  an  argument  that  seems  to  me  conclusive  —  the  places 
where  vases  of  the  present  group  are  found  practically  coincide  with 
the  places  where  are  found  black-figured  lekythoi  of  the  same  period. 
Of  both  classes  by  far  the  greater  number  have  been  found  in  the 
vicinity  of  Athens  or  Eretria;  and  the  specimens  which  come  from  else- 
where in  Greece,  from  Cyprus,  Asia  Minor,  Sicily,  and  Italy  betray 
clearly  their  Athenian  origin.1  The  inference  may  fairly  be  drawn 
that  the  two  kinds  of  vases  were  made  in  the  same  workshops  for  the 
same  market,2  while  the  later  outline  lekythoi  were  made  more  and 
more  for  the  Athenian  market,  and  presumably  their  manufacture  be- 
came a  special  branch  of  the  potter's  art.  That  the  outline  ware  and 
the  black-figured  ware  are  essentially  different  in  spite  of  this  close 
connection  between  them  I  have  attempted  to  show  in  the  Introduc- 
tion (p.  7  f.). 

The  lekythoi  of  the  present  group  may  be  subdivided  into  three 
well-marked  classes;  and  although  the  line  of  division  which  I  propose 
is  somewhat  artificial,  nevertheless  it  serves  to  bring  together  the  vases 
which  must  be  studied  together.  These  classes  are  as  follows: 

1  For  the  outline  lekythoi,  cp.  Perdrizet,  in  Bull.  Corr.  Hell.  1898,  p.  417  f. 

2  It  is  an  interesting  feet  that  more  than  half  the  outline  lekythoi  of  this  group  which  were  found  out- 
ride of  Greece,  are  almost  duplicated  among  those  found  in  Greece. 


GROUP  A:    CLASS  I,  i  23 

Class  I.  Lekythoi  on  which  flesh  parts  of  the  main  figure  are  in 
black  silhouette  and  accessories  in  outline. 

Class  II.  Larger  vases  with  black  neck  on  which  the  flesh  parts  are 
drawn  in  outline,  while  silhouette  is  used  rarely  and  only  for  garments. 

Class  III.   Smaller  vases  with  red  neck  and  only  outline  drawing. 


GROUP  A:  CLASS  I.      Flesh  in  silhouette,  accessories  in  outline 

Except  in  the  use  of  silhouette  the  vases  of  Classes  I  and  II  are  alike. 
In  height  they  do  not  vary  much  from  0.30  m.;  in  general  shape  and 
decoration  they  are  very  like  the  finer  black-figured  lekythoi  of  the 
same  period  (e.g.  those  published  Jour.  Hell.  Stud.  1893,  pi.  i-iii). 
They  are  not  very  slender,  the  upper  part  of  the  body  is  almost  a  per- 
fect cylinder,  the  shoulder  is  rather  flat,  while  the  neck  is  shorter  and 
the  mouth  slightly  larger  than  in  later  specimens.  The  neck  and  all 
the  handle,  as  well  as  the  mouth  and  the  lower  part  of  the  body,  are 
covered  with  black  glaze.  On  the  red  shoulder  there  is  usually  a 
series  of  fine  short  radial  lines  at  the  base  of  the  neck  (which  may  be 
bounded  by  concentric  circles),  and  outside  of  these  are  1+3+1  pal- 
mettes  in  black  glaze.  Above  the  main  scene  at  the  top  of  the  body  is 
a  maeander,  which  is  often  broken  by  a  horizontal  cross  in  a  square; 
below  the  scene  the  black  glaze  comes  up  over  the  lower  edge  of  the 
white  slip  and  forms  the  base  of  the  picture,  while  the  black  itself  is 
usually  bounded  by  two  narrow  purple  lines.  The  form  of  the  foot 
varies  in  different  specimens,  but  the  form  which  later  becomes  typical 
is  found  here  only  on  isolated  specimens. 

Class  I  consists  of  a  few  vases  on  which  the  flesh  parts  of  the  human 
figure  are  in  silhouette,  just  as  on  black-figured  vases,  while  the  outline 
method  is  used  only  for  garments  and  subsidiary  objects.  In  later 
classes  of  lekythoi  with  outline  drawing  garments  are  occasionally  done 
in  solid  black,  but  in  these  cases  the  details  are  not  incised;  such  in- 
cised details  are  not  found  outside  the  present  class,  except  in  the  case 
of  two  or  three  animals  on  vases  under  Class  III  (a). 

Three  vases  of  the  present  class  are  interesting  in  that  they  rep- 
resent practically  the  same  scene,  viz.,  a  bearded  man  leaning  on  a 
stick  and  looking  at  a  cock,  above  which  hangs  a  lyre. 

i.  Naples,  Heyd.  2438.  Ruvo.  H.  0.24  m.  D.  0.28  m.  The  vase 
is  reproduced  from  a  photograph,  Bull.  Corr.  Hell.  1898,  p.  419,  and 
Jahr.  Arch.Inst.Vll,  188. 


24  ATHENIAN   WHITE   LEKYTHOI 

The  maeander  above  the  scene  is  broken  by  squares  containing  an  oblique  cross.  The 
hair,  the  features  of  the  face,  and  the  anatomy  of  the  breast  are  indicated  by  the  use  of 
extremely  fine  incised  lines  which  hardly  cut  through  the  black  glaze  to  the  ground  color 
underneath.  Purple  is  applied  on  the  black  for  the  beard  and  for  the  taenia  about  the 
head.  A  preliminary  sketch  with  blunt  point  in  the  soft  surface  was  not  followed  in 
detail  (e.g.  for  the  right  arm).  The  inner  angle  of  the  eye  is  open,  and  the  pupil  is 
indicated  against  the  upper  lid,  as  is  customary  on  red-figured  vases. 

A  bearded  man  stands  facing  toward  the  right,  his  right  hand  on  his  hip,  leaning  on 
a  stick  in  his  left  hand;  a  black-bordered  himation  leaves  his  right  breast  uncovered. 
He  looks  down  at  a  cock  which  turns  away  from  him.  In  the  field  on  each  side  are  imita- 
tion inscriptions;  at  the  right  above  hangs  a  lyre  with  plectrum;  at  the  left  hang  strigil, 
sponge,  and  oil  flask. 

2.  Larnaca,  Coll.  M.  Pierides.  From  Amathonte  or  Curium. 
H.  0.25  m.  Bull.  Corr.  Hell.  1898,  p.  417  f. 

Maeander  of  the  simplest  type.  Incised  lines  for  the  eye  (late 
black-figured  type),  anatomy  of  breast,  and  detail  of  cock.  Purple 
is  applied  on  black  for  taenia  and  beard. 

A  bearded  man  as  before,  except  that  his  right  hand  is  held  out 
to  the  cock,  which  faces  him.  Before  him  imitation  inscription  and 
lyre  in  field. 


3.  Berlin,  Furtw.  2250.  Athens.  H.  0.24  m.  (Fig. 
18.) 

Maeander  of  the  simplest  type.  No  preliminary  sketch  can  be 
detected.  The  incised  lines  and  applied  purple  of  the  last  two  speci- 
mens are  missing,  and  it  may  be  that  the  vase  was  never  finished. 

The  bearded  man  leans  on  a  stick  under  his  left  shoulder  and 
extends  his  left  hand  to  cock  facing  him;  right  hand  on  hip  as  in 
FIG.  18  (no.  3).  no.  I.  Imitation  letters  and  lyre  in  field  before  him. 

These  three  vases  are  as  much  alike  as  Greek  vases  ever  are;  with- 
out hesitation  they  may  be  referred  not  only  to  the  same  city,  but  to  the 
same  workshop,  and  probably  to  the  same  artist.  If  the  scene  is  re- 
garded as  complete  in  itself,  it  would  represent  what  is  so  often  seen  on 
Greek  vases,  a  person  playing  with  some  pet  creature.  In  fact  nos. 
2  and  3  do  represent  just  this  scene,  but  on  no.  I  the  cock  is  turned 
away  and  the  man  is  simply  looking  on.  One  point  of  difference  be- 
tween black-figured  lekythoi  (a  few  late  ones  excepted)  and  lekythoi 
with  outline  drawing  is  that  for  the  latter  the  scene  is  restricted  at  first 
to  one  figure,  or  very  rarely  two  figures.  This  end  was  often  attained 
by  means  of  abbreviation,  or  by  selecting  a  figure  with  some  accessory 
out  of  a  larger  scene  which  was  familiar  to  the  artist.  In  the  present 
case  we  are  evidently  dealing  with  an  abbreviated  scene  of  cock-fighting. 


GROUP  A:  CLASS  I,  2-3  25 

The  cock-fight  is  one  of  the  few  scenes  from  daily  life  which  appear 
on  black-figured  ware;  its  occurrence,  however,  may  easily  be  accounted 
for.  The  cock  appears  with  other  animals  in  the  animal  friezes  of  early 
'Rhodian  and  Corinthian  !  wares.  One  or  more  cocks  are  chosen 
much  more  frequently  than  other  animals  to  ornament  the  shoulder 
on  early  Attic  black-figured  lekythoi.  Where  two  cocks  face  each  other 
in  the  heraldic  schema  so  common  in  early  vase  painting,  the  sug- 
gestion of  a  cock-fight  is  inevitable.2  The  change  from  this  schema 
to  the  scene  of  actual  combat  is  but  slight;  the  cock  combat  represented 
in  a  vignette  by  Laborde  3  apparently  served  the  same  ornamental 
purpose  on  the  shoulder  of  a  lekythos,  which  is  commonly  served 
by  a  cock  between  ivy  leaves.  The  addition  of  other  figures  on  the 
shoulder  of  an  early  lekythos  in  Madrid  4  gives  the  full  scene,  —  cocks 
fighting,  men  holding  other  cocks  in  readiness,  and  spectators.  Finally 
on  the  body  of  a  lekythos  in  the  Louvre  the  same  subject  is  treated 
in  a  manner  that  is  more  pleasing  and  suggestive,  though  no  less  literal, 
than  on  the  Madrid  lekythos.  In  this  scene  the  fight  is  not  actually  in 
progress,  but  one  man  has  put  his  cock  down  and  bends  over  to  watch 
it,  while  the  other  cock  is  still  in  the  hands  of  a  man  leaning  on  his 
stick;  one  spectator  completes  the  scene.  This  scene  is  given  in  black 
figures  on  a  white  ground,  and  the  vase  is  assigned  by  M.  Perdrizet, 
who  has  published  it,  to  the  latter  part  of  the  sixth  century  B.C.5  Cer- 
tainly a  scene  which  reminds  the  student  so  forcibly  of  the  following 
century  by  its  everyday  character,  its  freshness,  and  its  avoidance  of 
fixed  types,  cannot  be  placed  much  before  500  B.C.,  even  though  it 
stands  in  connection  with  the  earlier  series  of  cocks  and  cock-fights 
which  have  been  mentioned  above. 

For  the  sake  of  comparison  a  black-figured  alabastron  8  deserves 
mention;  on  each  side  is  represented  a  man  holding  a  cock  ready 
for  combat.  Again,  on  several  vases,  one  of  which  belongs  to  a  some- 
what later  period,  are  seen  old  men  giving  cocks  and  hares  to  epheboi.7 
The  connection  of  these  vases  with  the  present  series  is  evident. 

1  Amer.  Jour.  Arcb.   1898,  p.   199,  pi.  vi. 

2  E.g.  on  an  early  Attic  vase  in  Leyden  (Roulez,  Cboix  det  vases  feints,  pi.  x,  Holwerda,  Jabr.  Arcb. 
Inst.  1890,  S.  245),  where  cocks  with  large  spurs  are  placed  facing  each  other. 

8  Laborde,  Collection  Lambert,  II,  25,  Vign.  7. 

*  Coll.  Salamanca,  published  in  Annalt,  1863,  pi.  G,  p.  233. 

6  Revue  arcbeologiyue,  1893,  I,  pi.  v. 

6  Berlin,  Furtw.  2030;  Arcb.  Zeit.  1878,  pi.  21. 

7  Roulez,  Vases  de  Leyde,  pi.  xvii,   I,  a  plate  with  black  figures  on  a  yellowish  ground;   Munich,  Jahn, 
804.;   Comptes  re ndus,  1868,  p.  129,  Stcph.  1721  ;  Arcb.  Zeit.  1885,  Taf.  xv,  Berlin,  Furtw.  1395  j  AnnmR, 
1876,  pi.  B,  Ganymede  with  cock. 


26  ATHENIAN   WHITE   LEKYTHOI 

The  three  lekythoi  with  outline  drawing  which  we  are  considering, 
clearly  give  the  abbreviation  of  the  earlier  scene  of  a  cock-fight.  The 
connection  between  them  and  the  Louvre  lekythos  is  certainly  very 
close.  On  the  Naples  vase  (no.  i)  the  palaestra  utensils  are  drawn  in 
the  same  manner  as  on  the  Paris  vase;  and  the  figure  of  a  man  leaning 
on  a  stick  is  the  same,  except  for  the  cock  which  he  holds  on  the  Paris 
lekythos,  an  omission  which  is  easily  accounted  for. 

The  figure  of  a  bearded  man  leaning  on  his  stick,  so  well  known  on 
red-figured  vases  of  the  severe  style,  is  found  on  several  of  the  early 
outline  lekythoi  (e.g.  Brit.  Mus.  Cat.  Vases,  III,  D  25);  perhaps  it  is 
evidence  of  the  force  of  tradition  that  it  is  found  with  the  cock  on  the 
black-figured  Louvre  lekythos,  the  outline  lekythoi  now  under  con- 
sideration, and  again  on  the  vase  of  Hieron  representing  men  with 
cocks.  It  is  not  strictly  a  black-figured  type,  and  its  presence  on  the 
Louvre  vase  is  additional  evidence  that  this  vase  belongs  to  the  period 
of  transition. 

The  result  of  the  comparison  between  these  lekythoi  and  others 
with  the  same  scene  is  to  show  that  the  artist  of  these  outline  lekythoi 
drew  his  material  from  earlier  types,  while  at  the  same  time  he  modified 
the  material  to  accord  with  a  new  kind  of  vase.  The  question  why 
these  outline  lekythoi  at  first  represent  only  a  single  figure,  must  be  left 
for  later  consideration. 

4.  Athens,  Nat.  Mus.  1809.  Cv.  1025.  Aegina.  H.  0.307  m.; 
Cir.  0.316  m.  Dumont-Chaplain,  Les  ceramiques  de  la  Grece  propre,  I, 
pi.  xi,  i;  Rayet-Collignon,  La  ceramique  grecque,  p.  215.  Cp.  Ath. 
Mittb.  XVI,  311.  The  poor  reproductions  are  responsible  for  much 
that  is  erroneous  in  the  comments  on  this  vase.  Plate  I,  2. 

The  maeander  above  is  broken  by  horizontal  crosses.  The  figure  of  Eros  and  the 
palmettes  in  the  field  are  solid  black;  the  wings,  lyre,  and  phiale  are  drawn  in  outline. 
Details  of  the  head  and  anatomy  are  incised  with  very  fine  lines;  purple  is  applied  for 
the  wreath  on  the  head,  and  also  in  the  centre  of  the  palmettes. 

Eros  naked  flies  to  right,  both  wings  raised  behind  him;  in  his  right  hand  he  holds 
a  phiale,  in  his  left  a  lyre.  In  the  field  are  two  large  sprays  with  scrolls,  palmettes,  and 
lotus  buds. 

I  have  already  called  attention  to  the  fact  that  this  class  of  outline 
lekythoi  resembles  very  closely  both  in  shape,  size,  and  ornamentation 
a  later  type  of  lekythos  with  black  figures  on  a  white  ground.  This 
lekythos  from  Aegina  recalls  in  particular  one  specimen  of  that  group 
of  black-figured  lekythoi  (Athens,  Nat.  Mus.  1138,  Athena  seated  be- 
fore an  altar,  Fig.  19)  on  which  the  same  type  of  scroll  with  palmettes 


GROUP  A:  CLASS  I,  4 


27 


appears  in  the  field.  On  these  two  vases  there  is  a  spot  of  applied 
purple  in  the  centre  of  the  palmettes.  Such  scrolls  in  the  field  are  not 
common  except  in  the  present  class  of  outline  lekythoi,  and  I  recall  but 
two  or  three  other  vases  (Karlsruhe,  exhibition  no.  167,  and  Metropoli- 
tan Museum,  Class  III,  40  infra)  on  which  the  pal- 
mettes have  the  added  refinement  of  a  purple  spot. 
Such  is  the  likeness  of  these  two  vases  in  all  details 
of  ornament  that  we  do  not  hesitate  to  class  them  to- 
gether, and  to  infer  about  as  early  a  date  for  the 
Eros  vase  as  we  must  assume  for  the  Athena  vase. 
The  scene  on  this  latter  shows  the  profile,1  attitudes,2 
and  drapery  3  of  the  developed  black-figured  tech- 
nique, and  it  deviates  from  this  only  in  the  way  the 
eye  is  drawn.  It  might  have  been  made  either  at 
the  end  of  the  sixth  century,  or  early  in  the  fifth 
century. 

On  black-figured  ware  a  representation  of  Eros 
is  rarely  found,4  and  then  only  on  late  specimens. 
E.g.  the  Eros  on  a  pitcher  at  Rome  5  betrays  a  late 
date  by  the  freedom  and  coarseness  of  the  drawing, 
by  the  selection  of  a  scene  typical  on  red-figured  ware,  as  well  as 
by  the  incised  lines  giving  the  outline  of  body  and  wing.6  An  alabas- 
tron  in  Berlin  (Furtw.  2032)  is  much  more  interesting  in  that  it  gives  a 
complete  scene  in  which  Eros  bears  a  rational  part:  Zeus  pursues 
Ganymede,  and  Eros  follows,  goading  him  on.  Eros  is  here  a  boy  with 
long  hair  done  up  behind;  only  one  wing  is  seen,  and  that  appears  to 
be  attached  under  the  armpit. 

On  an  early  red-figured  kylix  in  Munich  (Jahn,  noi;  Gerhard,  Aus. 
Vasen.  Taf.  289)  Eros  appears  three  times  in  palaestra  scenes.  The 
wings,  attached  to  the  middle  of  the  back  with  no  organic  relation  to  the 
body,  are  of  the  same  broad,  stiff  type  as  on  the  outline  lekythos  we 
are  considering,  but  in  each  instance  the  Eros  is  running,  not  flying. 
On  this  vase  in  one  scene  a  lyre  hangs  in  the  field;  on  another  vase 
(Gerhard,  Aus.  Vasen.  Taf.  287)  in  a  little  freer  style,  he  brings  a  lyre 
to  a  youth  who  is  moving  away.  The  presence  of  the  lyre  in  the  hands 

1  E.g.  Brit.  Mut.  Cat.  fasts,  II,  B  448,  z6i.  a  Cp.  Ibid.  B  604,  Seated  Diony«o«. 

*  Cp.  the  aegis  of  "  chlamys"  type,  e.g.  Brit.  Mu«.  B  161. 
4  Furtwangler,  Eros  in  der  fasenmalerei. 

*  Palazzo  del  Conservator!,  No.  66. 

6  Wings  of  just  this  type  are  (wind  on  a  kylix  by  Chachrylion    now  in  Florence,   Harrbon-MaccoD, 
pi.  x. 


28  ATHENIAN   WHITE   LEKYTHOI 

of  Eros  seems  to  indicate  the  connection  of  love  and  music;  *  and  the 
fuller  scene  of  which  our  vase  is  an  abbreviation  seems  to  be  located  in 
a  palaestra. 

Although  Eros  is  represented  as  present  at  a  sacrifice  on  the  Munich 
vase  just  mentioned  (Jahn,  1101),  the  phiale  in  the  other  hand  of  our 
Eros  is  probably  borrowed  —  together  with  the  style  of  the  wings  - 
from  the  familiar  scene  representing  Nike  with  phiale  before  an  altar. 
In  many  points  there  is  a  striking  resemblance  between  our  lekythos 
and  another  outline  lekythos  at  Athens  2  which  is  to  be  treated  under 
Class  II.  In  shape  and  ornament  the  two  vases  are  identical,  although 
the  black  glaze  comes  up  a  little  higher  on  the  lower  body  of  the  Eros 
vase  than  it  does  on  the  Nike  vase.  On  the  latter  vase  also  there  is  a 
scroll  in  the  field  with  lotus  buds  like  that  on  the  Eros  vase;  the  Nike 
has  the  same  single  curl  falling  free  in  front  of  the  ear  as  the  Eros, 
although  it  is  drawn  in  a  brown  glaze  instead  of  being  incised;  finally 
the  drawing  of  the  feathers  in  the  wings  is  of  exactly  the  same  type  on 
both  the  figures,  a  type  that  is  unusual  elsewhere.  The  nearest  parallel 
which  I  have  found  to  the  high  square  wings  of  our  Eros,  with  parallel 
lines  separating  two  sets  of  quills  from  the  part  of  the  wing  which  is 
covered  with  smaller  feathers  (not  represented),  is  the  right-hand  Nike 
on  a  vase  at  St.  Petersburg; 3  on  the  corresponding  Nike  at  the  left 
the  small  feathers  of  the  wing  are  represented,  as  on  later  winged 
figures,  by  small  glaze  dots.4  This  vase  recalls  the  style  of  Douris.  The 
flying  Nike  on  the  lekythos  at  Athens  is  easily  paralleled  on  red-figured 
vases  of  the  severe  style.  The  profile,  the  eye,  the  hair,  the  hands, 
and  the  treatment  of  the  garment  folds,  all  suggest  a  date  earlier  than 
470  B.C. 

Returning  to  the  Eros  vase,  we  miss  the  profile  of  the  face,  which  has 
been  destroyed  by  an  injury  to  the  vase.5  The  figure  is  drawn  with  ex- 
treme care,  although  a  degree  of  stiffness  remains,  e.g.  in  the  way  the 
left  hand  holds  the  lyre.  This  stiffness  is  the  more  apparent  if  it  be 
compared,  e.g.  with  the  Eros  on  the  knuckle-bone  vase  of  Syriskos.6 
On  the  lekythos  at  Athens  the  Eros  is  seen  in  full  profile,  and  yet  the 
anatomy  of  the  lower  part  of  the  body  is  visible  as  though  here  the 

1  Cp.  also  Berlin,  Furtw.  2,305,  Hartwig,  Meistcrschalen,  Taf.  Ixxii. 

2  Athens,  Nat.  Mus.  1827,  Nike  flying  toward  an  altar,      Plate  I,  I.     Cp.  also  Berlin,  Furtw.  2.249. 
8  Petersburg,  Steph.  1356;    Comptes  rcnducs,  1875,  p.  159;  Atlas,  1875,  pi.  V,  I. 

*  Contrast  the  drawing  of  the  feathers  of  the  wing,  e.g.,  on  a  Naples  vase,  Real  Museo  di  Napoli,  V,  20, 
and  on  the  Berlin  vase  Furtw.  2250.  The  form  of  wing  in  the  early  fine  style  may  be  seen  on  the  Munich 
hydria,  Jahn,  345,  Man.  Inst.  I.  pi.  x-xi. 

6  Possibly  we  may  get  some  clue  to  the  profile  from  the  vases  which  show  the  same  style  of  wings. 

6  Rome,  Papa  Giulio  Museum,  Case  Ixxxvii. 


GROUP  A:    CLASS  I,  5  2g 

figure  were  seen  from  in  front;  on  the  vase  of  Syriskos  the  body  bends 
in  a  graceful  curve  as  the  right  hand  is  stretched  out  in  front  and  the 
left  hand  with  its  scroll  is  drawn  back  at  the  side;  consistently  with  this 
attitude  the  lower  part  of  the  body  is  nearly  in  profile,  while  the  breast 
is  turned  toward  the  spectator.  On  the  other  hand,  the  Eros  at  Athens 
is  much  more  successful  than  that  on  the  Florence  kylix  by  Chachry- 
lion.1 

The  scrolls  and  palmettes  in  the  field  are  a  new  and  temporary  ele- 
ment in  lekythos  painting.2  The  Athena  lekythos  at  Athens  3  is  a  single 
example  of  such  ornament  in  black-figured  ware;  the  long  sprays  with 
leaves  commonly  serve  the  same  purpose  in  this  technique.  On  two 
of  the  vases  just  referred  to  Syriskos  and  Chachrylion  put  the  spray 
with  spirals  and  lotus  bud  into  the  hands  of  Eros,  thus  frankly  recog- 
nizing the  purely  ornamental  character  of  the  figure. 

I  have  dwelt  at  some  length  on  this  vase  partly  because  of  its 
intrinsic  interest,  and  partly  because  I  would  assign  to  it  a  somewhat 
earlier  date  than  has  sometimes  been  given.  M.  Mayer,4  for  example, 
compares  with  it  the  Eros  on  the  shoulder  of  a  vase  in  Berlin,5  and  sug- 
gests for  vases  of  this  class  the  date  465-450  B.C.  An  examination  of 
vases  having  the  same  scene,  and  of  vases  which  show  the  same  tech- 
nique, would  lead  me  to  place  this  particular  vase  fifteen  or  twenty 
years  earlier. 

5.  Athens,  Nat.  Mus.  1973,  Cv.  964.  Eretria.  H.  0.283  m.  AeXxtov. 
1889,  140,  no.  14;  Atb.  Mitth.  XVI,  311. 

Slip  a  dirty  yellow,  in  color  and  consistency  closely  resembling  the  vase  published 
by  Dumont-Chaplain,  I,  pi.  23.  Above  is  a  simple  mat-antler.  The  dogs  and  hares,  as 
well  as  the  flesh  parts  of  the  man,  are  in  solid  black,  and  details  are  shown  by  fine  incised 
lines.  The  garment  is  in  outline,  with  fine  lines  of  glaze  to  indicate  the  folds. 

A  bearded  hunter,  two  spears  in  his  left  hand,  moves  rapidly  to  right,  raising  a  large 
stone  behind  him  in  his  right  hand.  He  wears  a  chlamys.  Before  him  two  dogs  are 
pursuing  hares  over  stony  ground  in  which  grows  a  tree. 

This  vase  is  so  damaged  that  only  the  general  outlines  of  the  scene 
can  be  made  out.  Representations  of  a  hunt  are  somewhat  unusual  on 
Greek  vases,  but  the  history  of  this  scene  is  very  like  that  of  the  cock- 
fight. The  early  friezes  of  animals  were  easily  adapted  into  scenes  of 
pursuit,  in  this  instance  the  pursuit  of  hares  by  dogs.8  The  simple 

1  Harrison-Maccoll,  Greet  Pates,  pi.  x.  »  Nat.  Mus.  1138  (Fig    19). 

«Cp.  Man.  hst.  V,  wxv.  «  Atk.  Mink.  XVI,  311-311. 

6  Furtw.  2252. 

9  Shoulder  of"  proto-Corinthian  "  lekythos  in  Athens,  Arch.  Ztit.  1883,  p.  161  ;  Amer.  J»nr.  Arck. 
1900,  pi.  iv,  lower  frieze.  Shoulder  of  black-figured  lekythos,  Millingen,  Cegkill  ^aus,  pi.  xxxv,  I. 


3o  ATHENIAN   WHITE   LEKYTHOI 

scene  of  pursuit  is  next  elaborated  into  the  representation  of  a  hunt, 
with  the  net  into  which  the  hares  are  being  driven,  and  the  man  who 
urges  on  the  dogs  or  waits  in  hiding  to  kill  the  hare  when  it  is  entangled 
in  the  net.1  In  each  instance  the  scenes  take  the  place  of  an  animal 
frieze.  On  a  lekythos  in  Vienna  2  the  main  scene  represents  a  hunt, 
but  here  the  hunt  is  suggested  rather  than  depicted  with  full  literalness. 
The  same  elements  appear  in  the  vase  before  us,  except  that  the  second 
hunter  with  dog  in  leash  is  omitted.  Any  attempt  to  indicate  land- 
scape before  the  period  of  the  developed  red-figured  style  is  of  course 
unusual;  on  the  later  black-figured  vases,  however,  particularly  on 
lekythoi,  a  tree  often  takes  the  place  of  purely  ornamental  branches, 
and  in  several  instances  a  rock  is  represented. 

A  figure  very  similar  to  that  on  the  present  vase,  a  warrior  charging, 
in  his  left  hand  two  spears,  while  his  right  hand  is  raised  behind  him 
with  a  large  stone,  is  found  on  a  black-figured  lekythos  with  white  slip 
at  Athens  (Nat.  Mus.  1989).  Mayer  3  sees  in  this  figure  a  variant  of 
Kephalos  pursued  by  Eos.  Certainly  there  is  a  somewhat  striking 
resemblance  between  this  hunter  and  the  figure  of  Kephalos  raising  a 
stone  in  his  right  hand  to  defend  himself  from  Eos  on  the  Blacas  krater; 4 
but  that  vase  is  at  least  half  a  century  later  than  the  lekythos  we  are 
considering.  This  conception  of  Kephalos  with  a  raised  stone,  ac- 
companied by  his  dog,  is  somewhat  unusual,  and  a  bearded  Kephalos 
is  of  course  out  of  the  question.  In  addition  to  the  Blacas  krater  two 
polychrome  lekythoi  must  be  considered; 5  on  these,  curiously  enough, 
a  hare  hunt  is  represented  as  taking  place  near  a  grave  monument. 
Probably  these  two  lekythoi  are  to  be  dated  in  the  latter  half  of  the 
fifth  century.  Loschcke  6  has  attempted  to  show  that  the  later  vases 
with  black  figures  on  a  white  ground  sometimes  repeat  a  plastic  type. 
It  is  by  no  means  impossible  that  we  have  on  the  present  lekythos  an 
abbreviation  of  some  larger  painting  of  a  hunt,  possibly  a  scene  in 
which  Kephalos  was  one  of  the  hunters,  in  which  case  the  painters  of 
the  Blacas  krater  and  of  the  grave  lekythos  in  the  British  Museum  may 
have  drawn  their  inspiration  from  the  same  painting. 

6.  Paris,  Cab.  Med.  299.  Vulci.  H.  0.195  m.  Vases  peints  du  cab. 
du  med.  pi.  ill  A;  de  Luynes,  Vases  peints,  pi.  16;  Six,  Jabr.  Arch. 

1  Phiale  from  Capua,    Brit,  Mus.   Cat.  fasts,   II,  B  678;  tripod  from  Tanagra,  Berlin,  Furtw.  1727 
(cover). 

2  Black-figured  on  white  ground  ;  Laborde,  II,  pi.  18.  8  Ath.  Mitth.  XVI,  312. 
4  Brit.  Mus.  Cat.  Vases,  III,  E  466. 

6  Ibid.  Ill,  D  60  ;   Athens,  Nat.  Mus.  1957,  'E<£.  'Apx-  1894,  pi.  ii. 
8  Ath.  Mitth.  V,  381. 


GROUP  A:    CLASS  I,  6  3, 

Inst.   1892,  p.    185;    Furtwaingler,  Meisterwerke,  S.  280,  A.  3;    Pettier, 
Gaz.  arch.  1885,  p.  284,  no.  10. 

The  form  of  the  vase  is  less  slender  than  those  that  have  been  considered.  Slip  like 
that  on  the  Eros  vase  no.  4  supra.  Above  is  a  maeander  with  horizontal  crosses,  added 
after  the  main  scene  was  painted.  The  man's  body  is  black,  and  details  are  indicated 
by  exceedingly  fine  incised  lines.  Helmet  and  shield  are  drawn  in  fine  relief  lines  of 
black  glaze.  No  applied  purple. 

A  warrior  with  shield  and  spear,  his  Corinthian  helmet  drawn  back  to  leave  the  face 
exposed,  falls  backward,  his  legs  pierced  with  arrows.  In  the  field  unmeaning  letters. 

The  workmanship  on  this  vase,  as  on  the  earlier  members  of  this 
whole  class,  is  extremely  careful.  At  several  points  a  close  examination 
reveals  the  fact  that  the  outlines  were  drawn  with  a  finer  brush  than  was 
used  for  filling  in  the  interior,  —  a  procedure  that  is  familiar  in  the 
red-figured  technique.  For  example,  the  outline  of  the  left  leg  appears 
to  have  been  drawn  with  the  finer  brush,  and  the  stroke  is  continuous 
even  where  this  leg  is  behind  the  other.  So  the  right  heel,  the  nose, 
and  the  back  of  the  hair  were  put  on  with  a  finer  brush  so  as  to  leave  a 
correct  outline.  The  eye  is  hastily  drawn  with  round  inner  angle  and 
sharp  outer  angle;  a  short  line  instead  of  a  circle  indicates  the  pupil, 
as  is  frequently  the  case  with  later  black-figured  vases. 

The  anatomy  is  carefully  indicated  by  means  of  the  fine  incised 
lines.  While  the  hips  are  in  full  profile  and  the  right  shoulder  is 
thrown  forward  so  that  the  upper  part  of  the  back  comes  into  view,  the 
anatomy  of  the  lower  part  of  the  body  is  drawn  in  detail  just  as  though 
it  were  seen  from  in  front.  The  point  of  failure  is  exactly  the  same  as 
in  the  case  of  the  Eros  vase  (no.  4  suprd)\  and  the  effect  is  naturally 
stiff  and  awkward.  Very  much  the  same  thing  is  seen  in  some  of  the 
black-figured  work  of  Nikosthenes; 1  but  on  red-figured  ware  it  occurs 
but  rarely.  The  boy  fishing  and  one  of  the  satyrs  on  a  kylix  ofChachrv- 
lion  -  show  something  of  the  sort;  but  it  is  hardly  conceivable  that  it 
should  occur  on  such  a  carefully  painted  vase  as  the  Paris  lekythos 
unless  the  vase  were  from  a  date  rather  early  in  the  fifth  century.  The 
manner  in  which  the  "cross"  of  the  abdomen  is  drawn  can  be  paral- 
leled only  in  the  severe  style  of  red-figured  ware. 

With  this  vase  may  be  compared  a  kylix  from  Corneto  3  on  which 
also  is  represented  a  warrior  falling  back  before  arrows.  The  resem- 
blance is  only  of  the  most  general  character,  but  it  is  interesting  to 
see  how  much  the  same  subject  is  treated  by  another  vase  painter  of 

1  E.g.  Brit.  Mm.  Cat.  fam,  II,  B  195.  *  Hartwig,  MeitteruMe*,  Taf.  r. 

•Berlin,  Furtw.  2304,  "  Kras  des  Epiktrtw." 


32  ATHENIAN   WHITE   LEKYTHOI 

about  the  same  epoch.  A  gem  published  by  Furtwangler  l  reproduces 
the  scene  on  this  lekythos  much  more  closely.  On  both  lekythos  and 
gem  the  warrior  is  wounded  with  arrows  and  is  falling  backward  as 
the  result  of  the  wound;  on  both  he  carries  shield  and  weapon,  but 
wears  no  garment,  and  the  helmet  is  pushed  back  from  his  face.  This 
is  exactly  the  "heroic"  nudity  of  Greek  sculpture,  as  seen,  e.g.  in  the 
marbles  from  ^Egina.2 

On  a  pitcher  with  black  figures  on  a  white  ground  Loschcke 3 
finds  the  reproduction  of  a  plastic  type,  and  it  has  been  suggested 
more  than  once  4  that  this  lekythos  reproduces  the  dying  Diitrephes 
of  Kresilas.  The  suggestion  is  attractive  and,  if  accepted,  it  gives  a 
date  within  narrow  limits  to  our  lekythos.  The  statue  by  Kresilas 
cannot  have  been  erected  much  before  450  B.C.,  nor  can  such  a  vase  as 
this  be  dated  much,  if  any,  later  than  this  date.  The  first  six  vases  of 
this  class  form  a  closely  connected  group,  and  probably  all  were  made 
about  the  same  time.  This  period  would  seem  to  be  earlier  than  that 
of  the  Glaukon  vases  (465-450  B.C.),  both  because  the  drawing  on  the 
vases  of  the  present  class  is  stiffer,  and  because  a  comparison  of  these 
scenes  with  parallel  scenes  on  other  vases  directly  suggests  a  slightly 
earlier  date.  In  my  mind  these  considerations  outweigh  decidedly 
the  possibility  that  the  Paris  lekythos  reproduces  a  statue  of  about 
450  B.C.;  I  believe  that  this  vase  gives  an  abbreviation  of  a  battle-scene, 
just  as  the  previous  vase  gives  the  abbreviation  of  another  familiar 
scene. 

7.  Naples,  Coll.  S.  Angelo  99,  Heyd.  135.  Metapontum.  H.  0.25  m. 
Heydeman,  Arch.  Zeit.  1869,  S.  83,  20.  Plate  II,  I. 

On  the  shoulder  bars  and  typical  palmettes;  the  simple  maeander  is  broken  by  one 
blank  square;  slip  yellowish.  The  preliminary  sketch  with  a  dull  point  may  be  seen. 
Solid  black  with  fine  incised  lines  is  used  for  the  figures  and  garment;  the  altar  is  in 
outline,  with  purple  blotches  on  the  side  and  purple  flame. 

Apollo  hastens  to  the  right,  and  looks  back  at  a  hind  which  follows  him,  raising  his 
right  hand  as  though  to  stop  it;  in  his  extended  left  hand  are  a  bow  and  two  arrows. 
A  garment  hangs  in  pointed  folds  over  both  arms;  his  hair  falls  in  curls  over  shoulders 
and  breast.  The  eye  is  elliptical,  with  a  stroke  for  the  pupil.  At  the  right  is  an  altar 
with  Ionic  volutes.  Before  him  is  the  inscription  APTEMIAI,  behind  IEPON. 

On  the  first  four  vases  of  Class  II  is  found  a  similar  scene,  a  woman 
or  a  goddess  (Artemis,  Nike)  engaged  in  an  act  of  worship,  accom- 

1  Mfister-werke,  Eng.  trans,  p.  124,  fig.  49. 

2  With  the  attitude  of  the  falling  man  compare  the  wounded  giant  on  a  vase,  showing  the  influence  of 
Euphronios,  Brit.  Mus.  E  443  ;  cf.  Brunn,  Problcme  in  tier  Geschichte  der  f^asenma/erei,  S.  58. 

8  Ath.  Mittk.  V,  381.  *  E.g.  Furtwangler,  Meiiter-werke,  Eng.  trans,  p.  lai. 


GROUP  A:    CLASS  I,  7-8  33 

panied  by  a  black  animal;  the  scene  is  evidently  abbreviated  from 
scenes  of  worship  on  black-figured  ware,  in  which  the  gods  bear  a  part. 
We  may  fairly  assume  that  this  vase,  like  the  first  vases  under  Class 
II,  was  intended  for  dedication  at  some  temple  —  no  doubt,  as  the 
inscription  indicates,  a  temple  of  Artemis.  Here  as  on  the  Eros  vase 
(no.  4)  and  the  "Diitrephes"  vase  (no.  6)  the  body  is  seen  nearly  en 
face,  so  that  the  anatomy  drawn  in  fine  lines  is  visible.  In  technique 
nos.  4,  6,  and  7  form  a  group  quite  closely  connected;  no.  5  is  so 
mutilated  that  it  is  difficult  to  say  how  closely  it  is  related  to  these 
three. 

8.   Boston,  8374.     "Traced  to  Palermo."     H.  o.26m.     Plate  I,  3. 

Mouth  bell-shaped;  neck  red;  on  the  shoulder  a  row  of  bars  with  dots  between  the 
ends,  then  a  row  of  lotus  buds,  each  connected  with  the  next  but  one  by  a  curved  line. 
Four  lines,  separating  three  rows  of  dots,  were  put  on  after  the  main  scene  was  painted. 
Below  the  slip  a  wide  red  line  is  reserved  in  putting  on  the  black,  and  on  either  side  are 
purple  lines  applied  on  the  black  glaze.  The  foot  consists  of  a  red  band  above  a  black 
torus.  The  youth  is  in  black,  drawn  with  a  moderately  coarse  brush  and  then  filled  in 
solid,  while  the  horse  is  in  outline.  Details  in  fine  incised  lines. 

A  young  warrior  running  toward  the  right  throws  himself  back  to  check  a  prancing 
horse,  he  holds  the  reins  near  the  horse's  head  in  his  left  hand.  In  his  right  hand  are 
two  spears;  a  Corinthian  helmet,  pushed  back  on  his  head,  has  a  crest  drawn  in 
coarse  outline.  The  eye  is  of  a  very  unusual  shape,  wide  open  and  drawn  in  full 
profile. 

Above  and  below  the  horse  are  imitation  inscriptions.  On  either  side  of  the  scene 
are  large  palmettes  (three  on  one  side  and  four  on  the  other)  surrounded  by  lines  with 
scrolls  and  lotus  buds. 

This  vase  is  of  peculiar  interest,  both  for  the  scene  itself,  and  for  its 
connection  with  other  lekythoi.  In  the  Bibliotheque  nationale  is  a 
small  black  lekythos  on  which  almost  the  same  scene  occurs,  except  that 
the  youth  is  behind  the  horse;  l  the  figure  of  the  youth  is  incised  in  the 
black,  while  the  horse  is  added  in  white  paint,  with  red  for  reins,  tail, 
etc.,  and  the  inscription  is  done  in  white.  Again  the  scene  is  almost 
exactly  duplicated  on  a  vase  discussed  under  Class  III,  series  a,  except 
that  there  it  is  reversed.  The  vigor  and  dash  with  which  the  scene  is 
drawn  is  unique  among  outline  lekythoi  of  this  period;  on  later  leky- 
thoi the  scene  occurs  a  few  times,  but  it  is  drawn  in  a  particularly 
spiritless  manner.  The  palmettes  on  either  side  of  the  main  scene 
are  characteristic  of  the  vases  placed  at  the  beginning  of  Class  III, 
and  as  some  other  peculiarities  of  this  lekythos  are  paralleled  on  others 
in  that  series,  the  further  discussion  of  it  is  postponed  till  then. 

1  De  Ridder,  Catalogue  dei  vaies  feimti,  No.  493,  Fig.  85. 


34  ATHENIAN   WHITE    LEKYTHOI 

9.  Cambridge,  Fitz.  Mus.  Gard.  133.  Athens.  H.  0.195  m-  Cata- 
logue, pi.  xxx. 

Shape  like  the  earlier  outline  lekythoi,  i.e.  the  body  retreats  in  a  curve  from  the 
shoulder,  the  red  neck  merges  into  the  shoulder  without  a  break,  and  the  mouth  is  of 
the  old  shallow  type.  Shoulder  decorated  with  two  concentric  rows  of  bars.  Above  the 
scene  is  a  double  row  of  dots  between  enclosing  lines.  The  youth  and  horse  are  in  solid 
black,  the  garments  in  outline. 

An  ephebos  on  horseback  wearing  chlamys  and  petasos,  and  carrying  two  spears. 
The  horse  and  youth  are  in  black  silhouette,  the  petasos  and  garment  in  outline.  On 
each  side  is  a  large  palmette  surrounded  by  a  line  with  scroll,  as  in  the  vases  discussed 
first  under  Class  III. 

The  vase  is  interesting  in  that  it  combines  the  shape  and  decora- 
tion of  the  smaller  vases  in  Class  III,  with  the  peculiar  technique  of 
Class  I  in  the  drawing  of  the  scene.  This  same  scene,  an  ephebos  on 
horseback,  is  represented  on  an  actual  grave-vase  on  a  lekythos  of  the 
following  class  (Class  II,  no.  19,  Athens,  Nat.  Mus.  1975),  and  it  appears 
occasionally  down  to  the  later,  if  not  the  latest,  classes  of  white  lekythoi; 
here,  however,  it  has  no  reference  to  the  grave.  While  the  first  seven 
vases  of  this  class  form  a  homogeneous  group,  the  last  two  stand  rather 
by  themselves;  no.  9  may  be  explained  as  a  somewhat  later  recurrence 
to  an  experiment  which  had  not  proved  successful. 


Conclusion  of  Class  I  (Group  A} 

Turning  from  the  single  vases  of  this  class  to  the  class  as  a  whole, 
we  may  pass  over  the  question  of  shape  and  decoration  (cf.  supra, 
p.  23),  and  take  up  at  once  the  style  of  the  main  scene.  In  each  instance 
this  scene  consists  of  a  single  figure  which  is  done  in  black  silhouette 
with  details  in  fine  incised  lines,  while  garments  and  accessories  are 
only  outlined.  In  several  cases  purple  is  used  for  some  details.  The 
technique  suggests  at  once  a  comparison  with  vases  on  which  the  whole 
representation  is  in  black  silhouette  on  a  white  ground.  On  the  one 
hand  the  present  group  presents  the  general  appearance  of  the  black- 
figured  "Locrian"  lekythoi,  and  we  usually  find  the  applied  purple  of 
the  black-figured  technique.  It  should  be  remembered,  however,  that 
the  incised  lines  on  our  lekythoi  are  very  different  from  the  normal 
incised  lines  of  this  technique.  Similar  engraving  of  details  in  very  fine 
even  lines  is  found  only  on  a  few  black-figured  vases,  and  those  dating 
from  the  first  half  of  the  fifth  century.  In  particular,  the  treatment 
of  the  hair  by  engraving  only  its  edges,  either  as  a  wavy  line  or  a 


CONCLUSION  OF  CLASS  I  (GROUP  A)  35 

series  of  short  parallel  lines,  is  an  evident  imitation  of  red-figured 
methods.  Other  indications  are  not  lacking  that  these  silhouette 
figures  were  made  by  artists  accustomed  to  the  other  technique.  The 
preliminary  sketch  with  a  dull  point  in  the  soft  clay  is  found  in  one  in- 
stance here,1  as  in  the  better  specimens  of  Class  II.  A  careful  study 
of  some  of  these  vases  (nos.  4,  6,  8)  shows  that  the  black  glaze  was 
applied  as  in  the  red-figured  technique,  i.e.  at  least  a  part  of  the  out- 
line was  drawn  with  a  finer  brush  than  was  used  for  the  space  between 
the  outlines. 

So  far  as  the  scenes  represented  are  concerned,  we  find  in  each  in- 
stance that  a  scene,  the  development  of  which  can  be  traced  in  later 
black-figured  and  early  red-figured  vases,  has  been  abbreviated  to  suit 
the  lekythos-painter's  purpose.  These  vases  presuppose  the  principle 
that  the  lekythos  field  —  like  the  field  in  the  centre  of  kylikes  in  this 
same  period  —  shall  have  but  a  single  figure;  and  to  this  figure  is  always 
given  some  attribute  so  that  it  will  suggest  a  complete  scene.  In  other 
classes  of  lekythoi  a  single  figure  is  often  cut  out  from  a  larger  scene  and 
left  without  clear  meaning,  or  a  whole  scene  is  given  with  the  one  or 
two  figures  which  alone  are  necessary  for  its  completeness.  It  is  only 
in  the  present  class  that  the  method  of  abbreviation  and  suggestion  is 
consistently  followed.  This  fact  confirms  the  belief  (a)  that  this  class 
is  homogeneous,  and  (£)  that  the  painter  or  painters  of  these  vases  were 
accustomed  to  produce  the  regular  red-figured  vases  from  which  these 
scenes  were  abbreviated. 

There  is  some  truth  in  what  Dumont 2  says  of  the  Eros  vase  (no.  4) 
that  it  is  one  of  the  examples  which  indicate  the  transition  from  the 
black-figured  to  the  outline  technique.  We  cannot,  however,  date  this 
class  any  earlier  than  the  earliest  specimens  of  Classes  II  and  III; 
consequently  it  is  misleading  to  speak  of  these  vases  as  furnishing  a 
link  in  the  direct  process  of  development.  Such  a  statement,  moreover, 
neglects  the  influence  of  the  red-figured  methods  in  the  development 
of  outline  painting.  Coinciding  in  time  with  the  black-figured  vases 
which  have  the  same  form  and  decoration,3  and  with  the  earlier  specimens 
of  the  following  classes  which  have  the  same  decoration,  they  are  rather 
to  be  regarded  as  an  experiment.  In  spite  of  the  care  lavished  on 
them,  the  pure  outline  technique  showed  such  large  possibilities  that 
the  experiment  proved  unsuccessful,  and  later  the  silhouette  method 
continued  to  be  used  only  for  an  occasional  garment.  It  is  possible 

1  Naples,  Hcyd.  2438,  No.  i,  tupra.  «  Let  teramijuei  de  la  Crete  fnfre,  I,  371. 

•  E.g.  Jour.  Hell.  Stud.  1893,  pi.  i-iii. 


36  ATHENIAN   WHITE   LEKYTHOI 

that  the  experiment  was  tried  by  a  single  painter  or  rather  by  a  single 
workshop,  and  the  wide  distribution  of  the  group  was  the  outcome  of 
an  (unsuccessful)  effort  to  develop  a  market  for  vases-  of  this  type. 

The  considerations  already  alleged  as  to  date  go  to  show  that  the 
group  is  contemporaneous  with  the  severe  style  of  the  red-figured  tech- 
nique, and  is  later  than  the  beginnings  of  this  style.  The  general 
character  of  the  scenes,  as  well  as  the  details  of  the  drawing,  correspond 
to  the  red-figured  vases  of  this  period,  and  can  be  paralleled  in  black- 
figured  ware  only  on  vases  of  the  same  period. 


GROUP  A:    CLASS  II.    Drawn  in  black  glaze  outline,  silhouette  only  for 

accessories 

In  general  shape  and  ornamentation  this  second  class  agrees  exactly 
with  the  first   (p.   23).     Here,   however,  the  figure  is    drawn  entirely 

in  outline;  and  where  gar- 
ments are  filled  in  solid 
with  black,  the  details  are 
not  incised,  but  painted  on 
the  black  (if  they  are  given 
at  all)  in  white  or  purple 
lines.  In  one  instance  an 
animal  has  details  incised 
in  solid  black,  and  here  the 
engraving  is  in  the  coarse 
lines  usual  in  the  black- 
figured  technique. 

i.  Paris,  Louvre  CA  599. 
Eretria.  H.  0.273  m->  Cir. 
0.294  m.  (Fig.  20). 

Slip  creamy  yellow,  smooth  but 
FIG.  20  (no   i)  not  snmy.     Above  the  scene  is  a 

simple    maeander;    the    bounding 

lines  stop  with  the  maeander  instead  of  continuing  around  the  vase.  The  glaze  is  ap- 
plied more  thinly  for  the  ends  of  the  hair,  on  the  bracelet,  etc.  A  dull  purplish  brown  is 
used  for  the  torch  flame,  and  for  the  fluid  falling  from  the  phiale.  The  bull  is  solid 
black  with  details  incised.  The  main  outlines  are  indicated  in  a  preliminary  sketch  with 
a  dull  point  in  the  soft  clay. 

A  woman  (Artemis)  moves  to  right,  carrying  a  torch  in  her  left  hand,  and  pouring 
wine  from  a  phiale  in  her  right.      She  wears  a  sleeve  chiton  undergirded  (and  with  over- 


GROUP  A:  CLASS  II,  i  37 

fold  ?),  the  folds  of  which  are  not  arranged  in  groups;  her  hair  is  looped  over  the  ear 
and  falls  free  behind;  around  her  head  is  a  stephane  drawn  in  outline.  Behind  her 
hangs  her  quiver  above  a  small  tree;  in  front  prances  a  bull,  hardly  larger  than  a 
dog;  between  it  and  the  woman  is  an  imitation  inscription. 

The  quiver  of  Herakles  is  often  seen  hanging  on  a  tree  on  vases 
representing  one  of  the  labors  of  Herakles;  so  in  this  scene  Artemis 
has  laid  aside  her  quiver  to  perform  an  act  of  ritual,  and  the  only  pecu- 
liarity is  that  it  hangs  above  the  tree  instead  of  on  its  branches.  The 
tree  with  its  small  leaves  and  apples  (  ?)  is  of  the  usual  type  except  that 
it  has  only  a  thin  stem,  instead  of  a  trunk  that  would  support  the  branches, 
not  to  speak  of  the  added  quiver.  The  torch  and  phiale  of  Artemis 
will  come  up  for  discussion  later,  but  it  is  evident  that  they  denote  a 
religious  scene. 

On  red-figured  vases  the  bull  is  occasionally  present  at  scenes  of 
sacrifice,  but  no  animal  is  common  except  the  dog;  the  bull  of  this  vase 
and  the  doe  of  no.  3  must  be  explained  with  reference  to  black-figured 
ware.  On  this  ware  the  bull  is  found  in  scenes  of  sacrifice,  particularly 
in  processions  to  the  altar,1  and  again  in  processions  of  deities.2  The 
fact  that  it  appears  now  with  Apollo,  now  with  Hermes,  or  with 
Dionysos,  prevents  us  from  explaining  it  as  the  attribute  of  any  one 
god  in  the  sense  that  the  deer  is  the  attribute  of  Apollo  or  Artemis;  it 
occurs  in  a  procession  of  deities,  and  its  presence  is  to  be  explained  in 
the  same  manner  as  in  religious  processions  of  men,  i.e.  it  is  the  bull 
led  to  sacrifice.  Sacrificial  processions  in  which  gods  are  the  actors 
instead  of  men  are  to  be  explained  after  the  analogy,  e.g.  of  marriage 
processions  in  which  the  gods  are  actors.  The  attitude  of  the  bull, 
absurd  as  it  is  to  make  bulls  prance  like  horses,  shows  an  effort  on  the 
part  of  the  artist  to  suggest  the  solemn  religious  procession.  This  bull 
may  well  be  compared  with  the  doe  on  the  interior  of  a  kylix  signed  by 
Thypheithides.3  The  attitude  is  similar,  and  the  animal  in  this  in- 
stance also  is  drawn  in  black  with  engraved  details,  although  the  vase 
belongs  to  a  series  of  red-figured  kylikes. 

The  Artemis  herself  belongs  with  a  series  of  vases  soon  to  be  con- 
sidered (nos.  9-12)  on  which  a  woman  (or  Artemis)  performs  a  religious 
function  before  an  altar.  On  the  vase  before  us  this  figure  with  the 
prancing  bull  presents  an  almost  unintelligible  abbreviation  of  a  scene 
not  uncommon  on  later  black-figured  ware. 

1  Gerhard,  Aut.    Paten.  Taf.  242,    i;    Brit.   Mui.   Cat.  fasti,  II,  B  79,  6485    Atheru,  Nat.  Mus 
598;   Mut.  Greg,  (kylix),  161,278. 

2  Gerhard,   Aut.  Paten.   Taf.  31,    73    (Brit.  Mu».    B   157);   Brit.    Mm.  B    195,    167   (Afo«.  ha. 
IV,  Tav.  xi),  and  138.  »  Brit.  Mut.  Cat.  faiei,  III,  E  4. 


38  ATHENIAN   WHITE    LEKYTHOI 

2.  Athens,  Nat.  Mus.    1792   (Coll.   365),   Cv.   1019.      Attica.      H. 
0.258  m.    Atb.  Mitth.  XVI,  3ii,Taf.  x,  2;  Jour.  Hell.  Stud.  1896,  p.  173. 

Slip  brownish  yellow.  Above  the  scene  is  a  simple  maeander.  Drawn  in  outline, 
but  himation  and  dog  are  in  solid  black;  the  cord  attaching  the  plectron  to  the  lyre  is 
purple. 

A  woman  (wearing  sleeve  chiton,  short  black  himation,  her  hair  in  sakkos  with 
stephane)  advances  to  right,  her  head  thrown  back,  playing  a  large  lyre.  Before  her  a 
dog  in  the  same  attitude  as  the  bull  on  the  preceding  vase. 

This  scene,  unintelligible  in  itself,  becomes  clear  when  a  third 
figure  is  supplied  (in  thought)  toward  which  the  dog  is  leaping.1  The 
similarity  of  this  dog  and  the  bull  on  the  last  vase  is  very  striking,  though 
here  there  are  no  incised  lines.  The  head  of  the  woman,  as  well  as 
her  attitude,  also  recalls  that  Artemis,  for  we  find  the  same  sharp  nose 
and  round  chin,  and  the  same  stephane  as  in  the  case  of  the  Artemis. 
Mayer  2  compares  this  lyre  player  with  the  musician  Hippodamas  on 
a  vase  of  Hieron;  and  the  attitude  is  not  infrequent  for  lyre  players 
on  red-figured  vases  of  the  severe  period.3 

3.  Oxford,   Ashm.   265.     Gela.      H.   0.29    m.      P.   Gardner,   Cat. 
pi.  xxv. 

On  the  shoulder  are  fine  carefully  drawn  palmettes.  Above  the  scene  a  simple 
maeander.  Drawn  in  outline;  over-garment  and  doe  in  solid  black.  Preliminary  sketch 
with  a  dull  point  in  the  soft  clay. 

Nike  runs  rapidly  to  right  (or  flies,  for  her  feet  seem  to  be  above  the  ground)  hold- 
ing in  her  right  hand  a  spear  or  wand.  She  wears  a  sleeve  chiton  and  over  it  a  small 
cape;  her  hair  is  arranged  like  that  of  Artemis  (no.  i).  Before  her  is  a  doe  in  black; 
and  an  inscription  which  is  read  NI[KE]  I^OI.4 

A  flying  figure  pursuing  a  youth  is  one  of  the  favorite  scenes  on 
earlier  red-figured  vases;  the  winged  figure  is  often  labelled  Eos, 
sometimes  Nike  or  Iris,  or  again  it  may  be  an  Eros.  It  is  this  pursuing 
winged  figure  which  appears  on  the  present  lekythos,  but  a  doe,  in 
much  the  same  attitude  as  the  bull  on  no.  I,  here  takes  the  place  of 
the  fleeing  youth.  The  result  is  a  scene  complete  in  itself,  but  one  in 
which  Nike  as  such  is  quite  out  of  place.  Nevertheless  no  one  would 

1  Musician,  dog,  and  third  figure,  Hartwig,  S.  471  (and  Taf.  xxvi,  Int.);  cp.  also  a  lekythos  with 
black  figures  on  white,  very  fine  incised  details,  in  the  National  Museum  at  Athens. 

'2  Ath.  Mitth.  XVI,  311,  referring  to  jfahr  Arch.  Inst.  1887,  S.  164;  cp.  also  the  lyre  player  on  a 
relief  from  Akarnania,  Ath.  Mitth.  XVI,  pi.  xi. 

8  E.g.  Naples,  Heyd.  3118,  woman  advancing  and  playing  lyre  (the  eye  has  inner  angle  open); 
Rome,  Palazzo  dei  Conservator!,  179  (pelike),  bearded  man  playing  lyre  between  two  women  (the  eye  here 
is  archaic,  the  chin  full  and  round). 

*  The  Nike  on  a  red-figured  vase  in  the  same  museum,  Gardner,  pi.  xxiv,  is  very  similar. 


GROUP  A:  CLASS  II,  2-4  39 

hesitate  to  call  this  figure  Nike,  even  if  there  were  no  inscription,  for 
the  name  is  almost  a  generic  term  for  flying  female  figures.  The 
relation  of  the  vase-painter's  Nike  to  the  early  winged  "  Artemis  "  is 
a  question  that  will  arise  in  connection  with  a  vase  in  the  following 
class  (no.  3,  Louvre  MNC  650). 

The  wand  which  she  carries  can  hardly  be  a  spear;  it  may  be  the 
wand  or  kerykeion  which  Nike  (or  Iris)  often  borrows  from  Hermes.1 
The  "  cape  "  or  chlamys  fastened  on  the  right  shoulder  is  not  a  usual 
overgarment  for  women,  but  it  is  rarely  that  another  overgarment  is 
given  to  Nike  by  vase  painters  of  this  period.  Certainly  it  is  more 
suitable  to  her,  and,  e.g.,  to  the  maenads  at  the  death  of  Orpheus,2  than 
the  himation  of  ordinary  life,  which  would  necessarily  be  thrown  off 
in  active  exercise.  The  attitude  is  clearly  that  of  running,  even  though 
the  feet  are  free  from  the  ground.  For  Nike  (Iris,  Eos)  the  position 
of  the  runner  with  front  knee  bent  is  less  common  than  that  of  a  per- 
son lightly  leaping  from  one  step  to  another  as  by  the  aid  of  wings 
(the  front  leg  straight  forward). 

4.  London,  Brit.  Mus.  D  23.  Gela.  H.  1 1  in.  White  Ath.  Vases* 
pi.  xxvi,  A. 

Slip  brownish  yellow.  The  maeander  above  is  simple.  Traces  of  the  preliminary 
sketch  may  be  seen.  Drawn  in  outline,  but  column,  himation,  and  serpent  are  in  solid 
black. 

Before  a  slender  column  a  woman  (sleeve  chiton  and  himation,  hair  in  sakkos)  moves 
to  right,  holding  out  a  phiale  in  her  right  hand.  In  front  of  her  a  large  serpent  rises  on 
its  tail  looking  to  right.  At  the  right  is  an  inscription  HOTAI£  KAAC. 

A  column,  serpent,  and  altar  occur  occasionally  on  black-figured 
ware  to  denote  a  temple  of  Athena  before  which  a  sacrifice  is  in  prog- 
ress.3 On  the  present  vase  we  have,  not  a  sacrifice,  but  a  simple  scene 
of  libation  such  as  is  found  on  many  members  of  this  class.  The  ser- 
pent is  slenderer  than  on  the  black-figured  vases  mentioned,  and  lacks 
the  dropped  lower  jaw,  nevertheless  the  drawing  has  more  in  common 
with  these  serpents  than  with  the  more  realistic  creatures  on  red- 
figured  vases. 

The  woman  is  the  same  figure  that  we  have  seen  on  two  of  the  pre- 
ceding vases,  and  that  we  find  on  several  which  follow,  —  a  woman  in 
full  profile,  standing  or  walking  to  the  right,  with  both  hands  extended. 
The  preliminary  sketch  includes  the  phiale  in  her  right  hand,  but  it  is 

1  E.g.  Naples,  Heyd.  3373;  Brit.  Mus.  E  379.  *  Gerhard,  AM.  Vau*.  Taf.  156. 

8  E.g.  the  archaic  plate  in  the  British  Museum,  B  80,  and  a  hydria  of  usual  black-figured  ware,  Gerhard 
Am.  Paten.  Taf.  142,  i -a. 


40  ATHENIAN  WHITE    LEKYTHOI 

placed  in  the  hand  and  not  on  top  of  it  as  in  the  later  drawing.  The 
action  of  the  left  hand  is  explained  by  comparison  with  the  next  num- 
ber, in  which  Nike  holds  a  phiale  in  each  hand. 

On  these  four  vases  a  silhouette  animal  precedes  the  woman,  and 
on  several  vases  of  Class  III  l  an  animal  forms  part  of  the  scene. 
Two  of  the  present  group  are  from  Gela,  the  other  two  from  Eretria 
and  Attica.  The  common  characteristic  of  a  silhouette  animal, 
pointed  out  by  Bosanquet,2  belongs  to  a  passing  fashion;  one  can 
hardly  admit,  however,  that  these  vases  all  came  from  the  same  work- 
shop after  examining  the  profile  of  no.  I,  Louvre  CA  599,  and  no.  4, 
Brit.  Mus.  D  23.  The  Athenian  and  Eretrian  specimens  have  the 
straight  nose  and  full  round  chin  which  is  familiar  in  the  red-figured 

O  O 

work,  e.g.  of  Hieron;  while  the  Gelan  specimen  in  London,  which  is 
much  more  careful,  has  the  earlier  type  of  chin  such  as  is  seen  on  vases 
by  Chachrylion.  Nevertheless  these  four  vases  present  one  schema, 
and  a  comparison  of  the  variations  is  instructive  with  reference  to  the 
methods  of  the  vase  painter  in  this  period. 

5.  Athens,  Nat.  Mus.  1827,  Cv.  1023.     Eretria.     H.  0.262  m.,  Cir. 
0.271  m.      (Plate  I,  l).     Jour.  Hell.  Stud.  1896,  p.  173,  n.  21. 

Slip  quite  brown,  thin.  Above  is  a  maeander  in  sets  of  two,  separated  by  horizontal 
crosses.  The  lines  below  the  maeander  stop  with  the  maeander  at  each  side  of  the  scene. 
Drawn  in  black  glaze,  and  thinner  brown  glaze  is  used  for  the  folds  of  the  upper  part 
of  the  chiton,  curl  in  front  of  ear,  bracelets,  etc.  No  preliminary  sketch  can  be  detected. 

Nike  flies  down  toward  an  altar,  holding  a  phiale  in  each  hand,  her  wings  spread 
in  opposite  directions.  She  wears  a  sleeve  chiton  undergirded;  above,  the  folds  (in  thin 
glaze)  are  in  one  series;  below,  they  are  like  the  outline  of  the  figure  (black)  and  are 
arranged  in  sets.  The  hair  is  looped  over  the  ears  and  gathered  in  a  knot  at  the  back  of 
the  head,  but  one  curl  falls  in  front  of  the  ear.  Between  Nike  and  the  altar  is  a  spray 
with  scrolls  and  lotus  buds  (cp.  no.  4  of  Class  I,  Athens,  Nat.  Mus.  1809). 

6.  Berlin,  Furtw.  2249.     Athens.     H.  0.27  m.,  Cir.  0.27  m. 

Slip  now  quite  brown  (as  the  result  of  fire  ?).  The  maeander  is  in  sets  of  two,  sepa- 
rated by  horizontal  crosses.  Folds  of  the  upper  part  of  the  garment  in  thin  glaze. 

The  scene  is  almost  identical  with  that  on  the  previous  vase,  except  that  both  wings 
are  raised  behind;  the  hair  falls  free  behind  and  a  (reserved)  white  taenia  is  about  the 
head. 

These  two  vases  are  about  as  much  alike  as  any  two  Greek  vases, 
both  in  the  style  of  drawing,  and  in  details  of  the  scene  represented. 
The  differences  in  the  position  of  the  wings,  in  the  treatment  of  the 

1  No.  3,  Louvre  MNC  650;  no.   4,   Louvre  MNB  909;    no.    6,   De  Witte,   Vases  Lambert,    92; 
no.  10,  Politi,  Vau  grec.  sic.  agrig.,  p.  10,  Tav.  ii.      Cp.  also  Class  I,  7,  Naples,  Heyd.  135. 

2  Jour.  Hell.  Stud.  1896,  p.  173,  n.  21. 


GROUP  A:  CLASS  II,  5-6  4, 

hair,  and  in  the  scrolls  of  the  altar,  are  just  the  differences  which  one 
would  expect  when  a  painter  feels  free  to  reproduce  the  same  scheme 
instead  of  copying  mechanically.  In  both  instances  the  wings  and 
the  hair  represent  types  common  early  in  the  fifth  century,  i.e.  there  is 
no  trace  of  inventiveness  on  these  vases. 

The  profile  of  the  face  is  an  exaggerated  case  of  a  profile  common 
in  this  group  of  lekythoi;  the  long,  straight  nose,1  full  lips,  and  round 
chin  are  found  in  kylikes  of  the  second  quarter  of  the  century,  but  such 
pronounced  specimens  as  this  occur  only  on  white  or  on  red-figured 
lekythoi.  The  outline  of  the  left  breast  on  no.  5  betrays  the  hand  of 
a  painter  accustomed  to  drawing  women  in  three-quarters  profile. 
The  connection  is  all  the  more  evident  when  we  notice  that  the  kylix 
painter  often  draws  the  outline  of  the  breast  farthest  from  the  specta- 
tor (not  of  both  breasts  2),  in  order  just  to  suggest  that  the  upper  part 
of  the  garment  is  of  some  transparent  material.  In  treating  the  folds 
of  the  upper  part  of  the  garment  differently  from  the  folds  of  the  lower 
part,  the  painter  is  following  old  tradition;  in  the  case  of  the  upper 
folds  the  use  of  thin  brown  glaze  appears  here  for  the  first  time  on 
white  lekythoi;  the  lower  folds,  drawn  in  sets  of  straight  lines  without 
any  reference  to  the  folds  of  the  drapery,  can  easily  be  paralleled  on 
vases  before  475  B.C.  The  altar  on  no.  6  with  denticula  under  the 
Ionic  volute,  and  over  the  volute  a  sort  of  protecting  cover,  is  not  un- 
usual;3 the  peculiar  "horns"  on  no.  5  are  not  so  easily  explained, 
although  something  of  the  sort  is  found  on  a  stamnos  in  the  British 
Museum,4  and  here  the  purpose  is  apparently  to  prevent  the  fire  and 
ashes  from  falling  over  the  edge  of  the  altar. 

Almost  exactly  this  scene  is  common  on  red-figured  lekythoi  of  the 
severe  period.5  On  black-figured  ware  it  is  found  only  on  specimens 
of  a  late  date,6  perhaps  even  later  than  that  in  which  the  present  group 
of  lekythoi  falls.  The  appearance  of  Nike  pouring  a  libation  on  an 
altar  may  at  first  sight  appear  difficult  to  explain,  and  this  is  not  the 
place  to  discuss  the  question  in  detail.  Two  facts,  however,  will  shed 
light  on  it.  (i)  The  figure,  which  from  the  standpoint  of  the  vase 
painter  is  Nike,  could  often  more  fittingly  be  called  Iris;  she  is  the 

1  Cp.  the  nose  on  figures  by  Phintias,  Hartwig,  Meiaerubaltn,  S.  170,  171. 

*  E.g.  Brit.  Mus.  E  61,  a  kylix  by  Hieron. 

»  E.g.  Brit.  Mus.  E  80;  Louvre,  kylix  193  (87). 

*  Brit.  Mus.  E  456. 

8  E.g.  Athens,  Nat.  Mus.  1508  ;   Brit.  Mus.  E  580,  584;  also  E  643  ;  Petenburg,  Steph.  1533. 
«  Cp.  the  small  hydria,  Brit.  Mus.  8357,  which  belongs  to  a  well-defined  group  found  for  the  roost  p«t 
on  the  island  of  Rhodes. 


42  ATHENIAN   WHITE   LEKYTHOI 

messenger  of  the  gods  to  men,  and  even  the  attendant  of  the  gods,  not 
simply  the  herald  of  victory.  On  a  small  amphora  1  of  a  date  not  much 
later  than  the  lekythoi  under  consideration,  the  same  figure  appears 
bringing  a  pitcher  to  fill  a  phiale  held  by  a  bearded  man  who  is  reclin- 
ing at  a  banquet;  behind  him  a  standing  woman  holds  up  her  right 
hand  under  her  garment  in  a  gesture  of  adoration.  Here  Nike  is  the 
messenger  of  the  gods  to  honor  a  man,  and  there  is  no  specific  indica- 
tion that  a  victory  enters  into  the  matter  at  all.  Nike  often  brings  a 
taenia  or  a  crown;  when  she  comes  with  a  pitcher  to  fill  a  man's  phiale,2 
it  is  as  the  cup-bearer  of  the  gods  come  to  serve  some  man  whom  they 
would  honor.  On  a  large  pelike  in  the  Louvre  3  Nike  brings  phiale 
and  oinochoe  to  a  seated  king,  no  doubt  Zeus,  for  the  names  Nike  and 
Zeus  are  added  in  a  similar  scene  on  a  vase  of  a  little  later  date.4  This 
winged  figure  is  just  the  cup-bearer  of  the  gods,  but  she  is  called  Nike 
by  the  artist,  for  the  name  has  come  to  mean  a  winged  female  figure. 
This  use  of  the  name  is  probably  due  to  the  fact  that  this  figure,  as  it 
appears  on  vases  of  the  first  half  of  the  fifth  century  B.C.,  was  based 
on  types  of  winged  figures  which  had  been  developed  in  plastic  art 
under  the  name  Nike. 

(2)  What  has  just  been  stated  may  account  for  the  presence  of  Nike 
in  a  banquet  hall,  or  even  at  a  sacrifice; 5  but  it  does  not  explain  why 
she  should  herself  approach  an  altar  as  though  to  perform  an  act  of 
sacrifice.  One  may  say  that  Nike  bringing  a  libation  to  an  altar  is 
simply  a  variation  of  Nike  bringing  wine  to  Zeus  himself.  Such  a 
statement,  true  though  it  may  be,  does  not  explain  the  other  cases  in 
which  gods  are  represented  before  an  altar  in  an  act  of  worship.6  The 
fact  that  black-figured  vases  not  infrequently  represent  the  gods  as 
engaged  in  forms  of  human  activity  (banquet,  procession,  marriage 
scenes,  etc.),  has  already  been  mentioned;  and  it  is  a  curious  fact  that 
a  god  engaged  in  worship  should  be  the  one  of  these  scenes  to  become 
a  favorite  in  the  fifth  century.  That  gods  should  worship  gods  their 
equals  can  only  be  understood  on  the  assumption  that  we  are  dealing 
with  an  idealized  scene  from  human  life. 

1  Museo  GregorianO)  no.   IIO. 

2  On  the  later  pelike,   Brit.    Mus.    E   379,  we  read  the  name  NIKE  by  a  winged   figure  bringing  a 
libation  to  a  bearded  warrior. 

8  No.  223,  severe  period  of  the  red-figured  ware. 

4  Cf.  Nike  pouring  for  Athena,  Athens,  Nat.  Mus.  1717;  for  Apollo,  de  Luynes,  pi.  26;  for 
Poseidon,  Brit.  Mus.  E  445. 

6  Brit.  Mus.  E  455,  456. 

6  Athena,  Athens,  Nat.  Mus.  1 1  38  (black-figured  lekythos)  ;  Apollo,  Brit.  Mus.  E  80  ;  "  Pherephatte  " 
(kylix  with  outline  drawing  on  white),  Athens,  Nat.  Mus.  2187,  Ath.  Mitt  A.  VI,  Taf.  iv. 


GROUP  A:  CLASS  II,  7-9  43 

7.  London,   South  Kensington  Mus.,  G.   Salting  Collection   1131. 
Attica.       H.  about  0.28  m.      Burlington  Fine  Arts  Club  Exhibition, 
1904,  No.  35. 

On  the  shoulder  bars  and  palmettes.  The  maeander  is  broken  by  horizontal  crosses. 
The  foot  is  a  concave  disk.  Drawn  in  black  relief  lines  ;  garment  solid  black  with  purple 
fold  lines  ;  purple  is  also  used  for  the  wine  and  for  the  flame. 

A  winged  woman  stands  in  profile  before  an  altar  with  flame,  holding  up  her  left  hand 
and  pouring  on  the  flames  from  a  phiale  in  her  right  hand.  Her  wings  are  erect  behind. 
She  wears  a  sleeve  chiton  and  black  himation  ;  her  hair  is  wrapped  in  a  cloth,  except  for 
a  lock  in  front  of  her  ear.  The  eye  is  en  face.  In  the  field  is  an  imitation  inscription. 

8.  Wien,  Hofmus.  650.  Inv.  192.     H.  about  0.28  m. 

Shoulder  typical.  The  simple  maeander  barely  reaches  to  the  edge  of  the  scene. 
Thin  glaze  is  used  for  the  folds  of  the  upper  part  of  the  chiton,  and  purple  for  the  wine 
and  the  flame.  Traces  of  a  preliminary  sketch.  Drawing  very  hasty. 

The  scene  is  the  same  as  on  the  preceding  number  except  that  the  himation  is  in 
outline,  and  no  cloth  covers  the  woman's  hair. 

This  last  vase  looks  like  a  rude  copy  of  no.  7;  the  drawing 
is  much  coarser  than  on  any  other  vase  of  the  present  class, 
and  can  only  be  compared  with  that  on  some  of  the  small  vases  of 
Class  III.  The  scene  forms  a  link  between  the  flying  Nike  before 
an  altar  and  the  woman  (Artemis)  before  an  altar  of  the  succeeding 
vases;  no  new  elements  appear. 

9.  Athens,  Nat.  Mus.  1906,  Cv.  1076.     Athens.     H.  0.27  m. 

Slip  with  slight  greenish  tinge,  not  very  thin.  Above  is  a  simple  maeander.  The 
vase  is  much  damaged. 

A  woman  walking  rapidly  to  right  holds  out  a  phiale  in  her  right  hand;  the  raised 
left  hand  is  gone.  Before  her  are  traces  of  what  was  probably  an  altar,  with  an  imita- 
tion inscription  over  it;  and  behind,  some  object,  perhaps  a  quiver,  hung  in  the  field. 
She  wears  a  sleeve  chiton  and  over  it  a  short  black  himation;  her  hair  is  looped  over 
her  ear  and  falls  free  behind,  held  only  by  a  white  (reserved)  taenia  around  the 
head. 

This  is  the  same  advancing  figure  with  phiale  which  was  seen,  e.g. 
on  no.  i,  but  it  is  much  more  gracefully  drawn  than  the  figures  that 
have  preceded.  The  head  is  smaller,  and  while  the  lips  are  still  full 
and  the  nose  straight,  the  chin  is  much  more  delicate;  the  hair  is  like 
that  on  no.  6,  and  the  garments  like  no.  4,  but  the  folds  of  the  drapery 
are  drawn  with  much  greater  freedom  and  truth  than  on  any  of  the 
vases  that  have  been  considered. 


44  ATHENIAN   WHITE   LEKYTHOI 

10.   Athens,  Private  Collection.     Attica.     H.  0.25  m. 

Slip  thin,  brownish.  Above  the  scene  each  two  sets  of  maeander  are  separated  by 
horizontal  crosses.  Purple  is  used  for  the  taenia  on  the  hair,  and  for  the  quiver  strap. 
The  flame  of  the  torches  also  was  apparently  purple. 

Artemis  hastens  to  right  toward  an  altar,  holding  in  each  hand  a  lighted  torch.  She 
wears  a  sleeve  chiton  and  over  it  a  short  black  himation.  Her  hair,  which  falls  on  the 
side  so  that  it  covers  her  ears,  is  gathered  in  a  knot  behind  and  held  by  a  -taenia  wound 
around  it  several  times.  Behind  her  hangs  a  quiver  drawn  in  outline  and  a  bow  in  solid 
black. 

A  very  similar  scene  from  a  red-figured  lekythos  in  the  National 
Museum  at  Athens  is  published  by  Benndorf.1  Here  Artemis  holds 
the  bow  in  her  left  hand,  and  her  right  hand  is  held  up  with  the  fore- 
finger raised  as  though  perhaps  she  were  watching  an  arrow  that  had 
just  left  her  bow.  The  attitude,  the  garment,  even  to  the  difference  in 
the  folds  of  the  upper  and  lower  part,  the  type  of  face,  and  the  treat- 
ment of  the  hair  are  very  like  those  on  the  lekythos  just  described. 
On  a  red-figured  lekythos  in  Naples  2  the  scene  on  our  lekythos  is  re- 
produced even  more  accurately.  In  this  instance  Artemis  holds  out 
torches  in  both  hands,  and  the  quiver  (not  "Gewandstiick  ")  hangs  in 
the  field  behind.  The  long  archaic  eye  and  the  peculiar  treatment  of 
the  hair  (falling  over  the  ears  and  gathered  in  a  high  compact  mass 
held  by  a  purple  cord  wound  around  it  several  times)  are  the  same  as 
on  the  outline  lekythos  at  Athens.  Somewhat  the  same  type  of  face 
and  treatment  of  hair  appear  also  on  an  amphora  in  London.3  It  is 
on  lekythoi  however  that  the  close  parallels  are  found,  and  they  prove 
not  only  that  outline  lekythoi  and  red-figured  lekythoi  were  made  by 
the  same  hands,  but  also  that  lekythos  painting  in  this  epoch  was  a 
somewhat  distinct  branch  of  the  potter's  art.  The  following  number 
evidently  belongs  in  the  same  series,  though  the  scene  is  slightly  varied. 

u.    Berlin,  Inven.  3312.     Source  unknown.     H.  0.253  m- 

The  row  of  short  bars  on  the  shoulder  above  the  palmettes  is  omitted.  Slip  brownish 
yellow,  thin.  Maeander  broken  by  upright  lines  (as  on  some  earlier  vases  of  Douris). 
Thin  glaze  is  used  for  the  flame  of  torch  and  for  one  curl  in  front  of  the  ear.  The  very 
light  preliminary  sketch  (in  the  soft  clay)  is  seen  in  the  solid  black  of  the  himation.  The 
lower  part  of  the  vase  is  much  injured. 

Artemis  approaches  an  altar,  holding  a  delicately  outlined  oinochoe  in  her  right  hand, 
and  in  her  raised  left  hand  a  torch.  She  wears  sleeve  chiton  and  black  himation.  Her 
hair  is  looped  over  her  ears  and,  confined  only  by  a  reserved  white  stephane  around  the  top 
of  the  head,  falls  free  behind.  The  eye  is  archaic,  the  chin  full  and  round.  Behind  her 
hang  horizontally  an  outline  quiver  and  a  black  bow. 

1  Griecb.  Sic.  fat.,  Taf.  xxxvi,  8.  2  Heyd.  3191.  8  Brit.  Mus.  E  299  b. 


GROUP  A:  CLASS  II,  10-12 


45 


12.    Athens,  Private  Collection.     Attica.     Height  originally  about 
0.25  m.,  but  part  of  the  mouth  is  missing.     (Fig.  21.) 

Slip  thin,  brownish.  Each  two  sets  of  the  maeander  are  separated  by  a  horizontal 
cross.  Preliminary  sketch  with  a  dull  point.  Thin  glaze  is  used  for  the  flame.  Thechiton 
is  a  dull  reddish  brown  (laid  on  thickly)  with  black  folds. 

A  woman  stands  stiffly  before  a  low  altar  with  large  flame, 
holding  out  a  scroll  in  her  left  hand,  and  in  her  right  hand  a 
burning  torch.  She  wears  a  sleeve  chiton  and  short  himation; 
her  hair  is  looped  over  the  ears  and  gathered  in  a  compact  mass 
behind;  the  eye  has  its  inner  angle  open,  and  a  rather  large 
pupil  against  the  upper  lid  (of  the  same  type  as  on  the  "Glaukon" 
vases  which  follow,  nos.  17  and  1 8).  Behind  her  in  the  field 
hangs  a  black  alabastron. 


FIG.  21  (no.  12). 


The  present  series  (nos.  9-12)  might  be  regarded 
as  a  continuation  of  no.  I.  On  two  of  the  series 
the  woman  is  unmistakably  Artemis,  and  on  no.  9, 
as  on  no.  I,  she  pours  a  libation  as  she  walks.  The 
quiver  hangs  in  the  field  behind  on  nos.  i  and  10 
(and  perhaps  on  no.  9)  and  the  torch  is  in  her  hand 
on  nos.  i,  10,  11,  and  12.  The  same  type  of  gar- 
ments runs  through  the  series,  and  the  hair  is  ar- 
ranged in  the  two  ways  already  familiar,  except  that 
when  it  is  bound  up  the  ends  no  longer  protrude.  On  all  the  series 
the  drawing  is  somewhat  freer  than  on  the  preceding  six  numbers, 
but  no.  12  stands  apart  from  those  that  precede  it  and  is  to  be  classed 
with  the  "Glaukon"  vases,  nos.  17  and  18.  On  this  vase  (no.  12) 
Artemis  gives  place  to  a  woman,  perhaps  a  priestess,  and  the  woman's 
alabastron  hangs  in  the  field  instead  of  the  quiver  of  Artemis.  The 
graceful  poise  of  her  body,  as  well  as  the  later  type  of  eye,  indicates 
a  later  date  than  any  vases  yet  considered.  The  use  of  a  dull  color 
is  purely  experimental,  and  this  particular  sort  of  color  is  found  only 
on  a  few  small  vases  of  Class  D. 

The  altar  and  the  act  of  libation  on  these  vases  present  no  new 
facts  beyond  those  discussed  under  nos.  5  and  6.  That  Artemis 
should  lay  aside  her  quiver  and  bow  to  perform  an  act  of  worship  is 
no  more  strange  than  that  Apollo  or  Athena  should  be  represented  as 
engaging  in  worship  —  in  each  case  it  is  an  idealization  of  the  human 
act. 

The  most  noticeable  characteristic  of  this  Artemis  is  the  torch 
which  she  carries  on  nos.  9,  10,  and  11.  The  Artemis  with  torch  and 


46  ATHENIAN   WHITE   LEKYTHOI 

bow  on  a  kylix  by  Douris  is  explained  by  Hartwig  l  as  a  cult  type;  of 
the  four  reasons  adduced  for  this  suggestion,  the  peculiar  garment  is 
the  only  one  which  would  apply  to  that  figure  any  more  than  to  the 
representations  of  Artemis  on  these  lekythoi.  Are  we  then  to  regard 
this  advancing  figure  as  the  modification  of  some  familiar  cult-image  ? 

o       o  o 

It  is  altogether  probable  that  the  allusion  to  Artemis  "  darting  over 
Lycian  mounts  with  gleaming  torches  in  both  hands  "  2  was  suggested 
by  some  plastic  type,  and  perhaps  the  same  should  be  said  of  the 
figure  on  these  vases;  but  if  this  be  true  the  variations  appearing  on 
these  different  vases  show  that  the  artist  was  not  holding  closely  to 
any  one  plastic  type.3 

The  meaning  of  the  torch  in  the  hands  of  a  divinity  is  not  always 
easy  to  explain.  In  marriage  scenes  the  torch  was  an  essential  part  of 
the  procession  at  night,  and  as  such  it  naturally  passes  into  the  hands 
of  a  god  when  the  whole  scene  is  transferred  to  the  Olympian  world; 
this  use  of  the  torch  in  marriage  scenes  accounts  also  for  its  presence 
in  the  hands  of  Eros.4  When  maenads  and  satyrs  are  carrying  torches,5 
or  again  when  it  is  in  the  hands  of  Demeter  or  Kore,6  it  indicates  a 

O  7 

worship  carried  on  at  night.7  On  a  vase  in  St.  Petersburg  8  a  youth 
(Satyr)  seems  to  have  brought  torches  to  the  altar,  perhaps  to  light  its 
flames.  It  has  been  suggested  that  this  is  the  meaning  of  the  torch 
Nike  so  often  carries,  inasmuch  as  Nike  is  so  often  the  servant  of  the 
gods,  present  to  aid  in  a  sacrifice;  in  any  case  the  torch  has  come  to 
be  a  regular  attribute  of  Nike.9  There  remains  the  Artemis-Hekate- 
Erinys  type,  a  single  type  (or  pair  of  types)  which  oftentimes  only 
receives  its  particular  name  from  other  elements  in  the  scene.  How 
the  torch  came  into  the  hands  of  Artemis  in  this  type  is  not  at  first 
sight  evident.  Certainly  it  was  not  because  she  was  a  moon  goddess, 
even  if  it  be  granted  that  she  possessed  this  function  before  the  fifth 

1  Meisterscbalen,  Taf.  Ixvii,  2;   S.  602,  604. 

2  Sophocles,  Oed.   Tyr.  ao6 ;    Track.  214;   Aristophanes,  Ran.   1362. 

8  Artemis,  with  torch  and  spear,  advancing,  is  represented  as  a  cult  statue  on  a  late  vase  in  St.  Petersburg, 
Steph.  420,  Man.  Inst.  VI-VII,  Ixvi. 

4  With   Man.    Inst.   X,  xxxiv,  i,  compare  Gerhard,  Aus.    Vasen.   Taf.    312  and  313;   and  Eros  with 
torch,  Comptes  rendus,  Atlas,  1861,  pi.  v,  2. 

5  Comptes  rcndus,  Atlas,  1862,  pi.  v,  I;   Sacken-Kenner,   Samml.   des  Antikencabinets  (Wien),  S.  175 
(102);  Laborde,  I,  pi.  xliv,  i  ;   Annal'i,  1873,  pi.  I ;   cp.  the  black-figured  amphora,  Berlin,  Furtw.  1881. 

6  E.g.  Elite  cer.  Ill,  64,  p.  183  ;  and  a  kylix  of  Brygos,  Annali,  1850,  pi.  G. 

7  Sophocles,  Ant.  1120  and  1150;    Oed.  Col.  1049  f.  ;   Euripides,  Ion,    716,    1074  f.  ;   Aristophanes, 
Ran.  342,  351. 

8  Comptes  rendus,  Atlas,   1873,  pi.  vi  ;    Steph.   1776. 

9  If  the  figure  on  no.  3  of  Class  III  (Louvre  MNC  650)  is  to  be  called  Nike,  it  suggests  the  possibility 
that  the   Nike  of  the  vase  painter  got  her  torch  from  Artemis,   for  the  winged  figure  with  two  animals  is 
certainly  derived  from  the  "  Persian  "  or  "  Asiatic  "  Artemis. 


GROUP  A:  CLASS  II,  13-14  47 

century  B.C.  Nor  does  it  seem  to  me  likely  that  it  was  because  she 
used  the  torch  in  hunting  at  night,1  though  on  at  least  two  vases  of 
somewhat  later  date,  bow  and  torch  are  both  present  in  her  hands.2 
Probably  in  the  case  of  Artemis,  as  in  the  case  of  Persephone,  the 
reason  is  to  be  sought  in  some  cult  usage.  The  torch  inevitably  ac- 
companies night  worship,  and  even  if  it  had  no  mystic  significance,  it 
w^s  easily  transferred  from  the  hands  of  priestess  or  attendant  to  the 
hands  of  the  goddess  who  originally  instituted  the  rite  in  which  the 
priestess  was  using  it.  It  is  difficult  to  trace  the  plastic  type  of  Artemis 
with  torch  to  as  early  a  date  even  as  the  present  series  of  lekythoi;  and 
inasmuch  as  the  "  Artemis  "  of  these  vases  is  an  idealized  Artemis 
worshipper  or  priestess,  it  seems  to  me  more  natural  to  regard  the 
torch  on  this  series  of  vases  as  derived  from  Artemis  worship  directly, 
and  not  indirectly  through  a  plastic  type. 

13.  Palermo,  160.    Gela.     H.  to  shoulder  about  0.22  m. 

Above  the  scene  a  short  band  of  simple  maeander,  below  it  two  purple  lines  on  the 
edge  of  the  black  glaze.  Foot  a  disk  with  concave  edge.  Solid  black  is  used  for  a 
garment.  The  preliminary  sketch  was  drawn  with  a  dull  point  in  the  soft  clay.  The 
mouth  of  the  vase  is  missing. 

A  woman  in  profile  bends  forward  holding  out  in  each  hand  a  fruit  over  a  kalathos 
on  the  ground.  She  wears  an  Ionic  chiton  girded;  her  hair  is  all  covered  with  a  sakkos, 
except  a  small  lock  in  front  of  her  ear.  The  eye  is  en  face.  Behind  her  is  a  stool  on 
which  a  black  garment  has  been  laid.  Above  it  in  the  field  hangs  a  mirror;  in  front  of 
the  woman  is  an  imitation  inscription,  and  in  the  field  above  hangs  a  small  basket  with 
high  handle. 

This  lekythos  is  the  only  one  in  the  present  class  on  which  the 
simple  scene  of  domestic  life  is  depicted,  a  scene  which  becomes  usual 
on  lekythoi  of  Group  B,  and  is  not  uncommon  in  the  following-  class 
(Class  III).  The  hanging  objects  mark  the  place  as  a  gynaikeion; 
here  the  woman  has  laid  aside  her  black  himation  on  a  stool,  and  is 
holding  out  some  fruit  which  perhaps  she  has  just  taken  from  the 
basket  on  the  ground  before  her.  The  scene  is  treated  with  a  literal- 
ness  and  simplicity  which  are  quite  in  contrast  with  the  stereotyped 
form  found  later. 

14.  Berlin,  Inven.  3338.     Attica.     H.  0.243  m-'  Cir.  0.251  m. 

The  slip  is  cream  yellow.  The  lines  bounding  the  maeander  below  stop  with  the 
maeander.  A  broad  line  of  thinner  glaze  is  used  for  the  outline  of  the  sleeve  and  upper 
fold  of  chiton,  and  purple  is  used  for  the  running  water. 

1  As  Farnell  suggests,  Cults  of  the  Greek  States,  II,  459. 

a  Paris,  Cab.  Med.  1 1  ;  Gat.  Arch.  1885,  p.  284,  no.  1 6 ;  on  one  tide  Artemis  with  bow,  on  rtrene, 
woman  with  torch;  Man.  Inst.  XI,  zliii  (Boston  Museum  of  Fine  Art*,  Twtmty-fiftb  j4**m*l  Report, 
p.  46) ;  Artemis  with  torch  and  bow  at  the  death  of  Actaeon. 


48  ATHENIAN   WHITE    LEKYTHOI 

Between  two  streams  of  water  at  a  fountain  a  woman  bends  over  and  stretches  out 
both  hands  toward  a  large  hydria  (drawn  in  solid  black)  which  stands  on  a  low  block. 
She  wears  a  sleeve  chiton  undergirded,  but  the  sets  of  folds  in  which  the  drapery  is  ar- 
ranged are  continuous  from  the  shoulder  down;  these  folds  are  drawn  as  straight  lines, 
except  for  the  angle  at  the  waist.  On  each  side  is  an  imitation  inscription. 

15.  Athens,  Nat.  Mus.  1791  (Coll.  380),  Cv.  1026.  Attica.  H. 
0.24  m. ;  Cir.  0.25  m.  Benndorf,  Gnech.  Sic.  Fas.Taf.  xxiii,  2;  Heyde- 
mann,  Griech.  Vasen.  v,  2;  cp.  Gaz.  arch.  1878,  p.  184;  Dumont- 
Chaplain,  Ceram.  II,  50. 

Slip  cream  yellow.  The  simple  maeander  and  enclosing  lines  were  added  after  the 
scene  was  drawn. 

Nike  bends  forward  and  extends  both  hands  toward  a  large  hydria  (in  solid  black) 
which  stands  on  a  low  block  below  a  water-spout.  Both  wings  are  raised  behind,  and 
are  drawn  much  in  the  same  manner  as  on  no.  5  supra.  The  figure  closely  resembles 
that  on  the  preceding  number,  except  that  the  hair  is  done  up  in  a  cloth,  and  the  eye 
has  the  inner  angle  open.  Before  her  is  an  imitation  inscription. 

The  peculiar  interest  of  no.  14  lies  in  the  fact  that  the  Berlin  Museum 
possesses  an  almost  exact  replica  of  it  in  red-figured  ware;  except  for 
the  fact  that  the  (red)  hydria  stands  a  little  farther  off  and  rests  on  the 
ground,  the  scene  is  identical  on  the  two  vases.  Both  these  vases  are 
closely  allied  to  the  first  six  treated  under  this  class.  The  creamy 
slip  is  the  same  that  is  found  on  no.  I,  and  the  brownish  purple  on 
nos.  i  and  14  is  an  uncommon  use  of  the  purple  paint  which  is  usually 
applied  on  black.  Moreover,  a  broad  strip  of  thinner  glaze  is  used  in 
the  same  manner  on  nos.  I,  5,  6,  and  14  to  mark  the  border  of  the 
chiton  sleeve  and  fold.  A  comparison  of  hair,  profile,  and  eye  on  nos. 
6  and  14  shows. a  remarkable  similarity,  but  it  is  a  similarity  of  type. 
On  the  other  hand,  nos.  14  and  15  can  hardly  be  independent  of  each 
other.  Not  only  is  the  general  scene  the  same,  even  to  the  fact  that 
the  position  of  legs  and  arms  is  identical,  and  the  same  type  of  hydria 
is  set  on  its  low  stand;  such  details  as  the  drawing  of  the  hands,  and 
the  horizontal  line  across  the  skirt  below  the  knees,  can  hardly  be 
explained  except  on  the  supposition  that  there  is  some  direct  connec- 
tion between  the  vases.  The  eye  on  no.  15  (not  quite  correctly  repro- 
duced in  Benndorf)  is  only  one  proof  of  the  more  careful  workmanship 
of  this  vase. 

While  some  of  the  scenes  in  this  class  are  found  only  on  these 
lekythoi,  and  their  development  cannot  be  traced,  it  is  evident  that  in 
dealing  with  this  scene  we  are  on  familiar  ground.  Like  no.  I  (which 
is  an  abbreviation  of  a  sacrificial  procession)  the  present  scene  is 


GROUP  A:  CLASS  II,  15-16 


49 


abbreviated  from  one  that  is  typical  on  black-figured  vases,  viz.  the 
"hydrophoria"  which  is  seen  on  so  many  hydriae.  The  fountain  is 
represented  here  by  the  one  or  two  mouths  from  which  water  gushes, 
and  but  one  woman  is  represented,  bending  toward  the  hydria  which 
is  being  filled.  Number  15  is  specially  interesting  in  that  this  figure 
is  winged.  There  can  hardly  be  any  doubt  that  the  Nike  is  intended 
to  suggest  that  the  action  has  a  religious  significance;  certainly  at 
v$po<f>6poi  were  not  unknown  in  various  cults,1  and  it  seems  probable 
that  here  again  the  servant  of  the  gods  is  seen  performing  the  tasks 
which  men  perform  in  honor  of  the  gods.  Interpreted  in  this  way, 
these  vases  fall  into  line  with  the  earlier  members  of 
the  series,  all  of  which  bear  a  religious  theme. 

16.  Athens,  Nat.  Mus.  1964,  Cv.  1066.  Eretria. 
H.  0.29  m.  Cp.  AcXriof,  1889,  76,  no.  5;  Jour.  Hell. 
Stud.  1896,  p.  173,  n.  21.  (Fig.  22.) 

Slip  thin,  brownish.  Maeander  simple,  drawn  after  the  main 
scene,  which  interrupts  it.  The  preliminary  sketch  in  the  soft  clay 
gives  some  details  which  were  not  reproduced  in  black. 

A  warrior  leans  over  to  put  on  greaves;  before  him  stand  spear 
and  shield  (in  profile),  and  a  sword  hangs  above.  His  Corinthian 
helmet  is  pushed  back  over  the  braids  of  his  long  hair,  and  he  wears 
a  corselet  over  his  short  chiton.  The  eye  is  archaic,  and  the  fine 
profile  has  the  familiar  straight  nose  and  round  chin. 

This  scene  is  drawn  with  great  care,  and  is  unique 
in  the  present  series.  Bosanquet 2  compares  it  with 
the  figures  on  vases  which  Hartwig  attributes  to  Amasis,  and  notes 
especially  the  eye,  and  the  beaded  hair  along  the  edge  of  the  fore- 
head. This  treatment  of  the  hair  over  the  forehead  is  found  in  the 
work  of.Hieron  and  of  Brygos,  as  well  as  on  the  vases  attributed  to 
Amasis;  moreover,  the  pupil  of  the  eye  on  our  vase  is  not  placed  near 
the  inner  angle  as  on  the  "Amasis"  vases  figured  by  Hartwig,  and  the 
nose  extends  much  farther  out  from  the  upper  lip  than  on  these  vases. 
It  remains  true  that  the  general  impression  of  the  helmeted  head  is 
very  like  one  head  on  the  Munich  amphora  discussed  by  Hartwig,3 
and  there  can  be  no  question  that  our  lekythos  belongs  to  the  same 
period.  It  is  not  without  interest  that  this  same  scene  (surrounded 
by  the  same  simple  maeander)  occurs  on  the  interior  of  the  frag- 
mentary Paris  kylix  with  the  name  Amasis.4 


1  Bcnndorf,  Gritch.  Sic.  fai.  S.  41,  A.  213,  114. 
8  Jour.  Hell.  Stud.  1896,  p.  173,  n.  ai. 

E 


*  Munich,  41 1  ;  Hartwig,  Taf.  xxxvii,  &. 
«  Hartwig,  Taf.  xxxvii,  a,  and  cp.  S.  87. 


50  ATHENIAN   WHITE   LEKYTHOI 

The  figure  of  a  warrior  putting  on  greaves  is  part  of  a  scene  which 
occurs  rather  frequently  on  black-figured  ware,  and  in  a  modified 
form  on  red-figured  ware  of  the  severe  period.  Hartwig  1  mentions 
ten  black-figured  vases  with  this  scene,  and  it  would  not  be  diffi- 
cult to  add  as  many  more.  On  these  vases  the  warrior,  generally  a 
bearded  man,  is  wearing  the  right  greave  and  raises  his  left  knee  to 
put  on  the  other  one.  At  his  feet  is  a  helmet  and  sometimes  a  shield. 
On  either  side  are  other  figures,  in  one  series  an  archer  in  characteristic 
costume  at  the  left,2  and  at  the  right  a  woman  holding  his  spear,  or 
Athena  in  full  armor;  in  a  second  series3  four  or  more  figures  are 
usually  present,  one  of  which  is  an  old  man,  the  father,  one  a  woman, 
and  the  rest  warriors.  This  archer  is  also  found  on  earlier  specimens 
of  the  "departure"  scenes,4  which  became  so  popular  in  the  fifth  cen- 
tury B.C.,  and  perhaps  originally  was  intended  to  suggest  some  scene 
from  the  Trojan  war.5 

When  this  motif  was  adopted  by  painters  of  red-figured  ware,  the 
knee  was  still  raised  to  receive  the  greave,  and  oftentimes  the  helmet 
(and  shield)  still  stood  by  the  warrior's  feet.6  But  the  painter  of  this 
ware  was  not  bound  by  tradition,  and  the  warrior  —  now  quite  gener- 
ally an  ephebos  —  may  wear  his  helmet  pushed  back;7  again  he  may 
bend  over  to  put  on  the  greaves  instead  of  raising  his  knee,  as  in  the 
realistic  scenes  on  a  kylix  of  Brygos.8  From  this  scene  the  kylix  painter 
occasionally  took  the  central  figure  for  the  interior  of  a  kylix,9  and  in 
the  present  instance  the  same  figure  is  chosen  for  a  lekythos.10 

Some  of  the  preceding  scenes  have  been  treated  as  abbreviations 
of  more  complete  scenes;  in  this  instance  it  is  fairer  to  say  that  the 
central  figure  has  been  reproduced  without  the  usual  accessory  figures. 
In  red-figured  ware  the  scene  is  found  mainly  on  kylikes,  and  the 
present  vase  evidently  belongs  to  the  same  period  as  the  work  of  the 
great  kylix  painters  of  the  severe  period. 

1  Hartwig,  Meistersc/ia/en,  S.  403,  A.  I. 

2  Brit.  Mus.  B  243,  521  ;   Ruvo,  Coll.  Jatta,  1608  (Bull.  Nap.  Nouv.  ser.  V,   pi.  xii)  ;   Wiirzburg, 
Urlichs,  III,  no.  89  (Gerhard,  Aus.  Vasen.  Taf.  264,  i). 

8  Brit.  Mus.  B  165,  224,  292,  572,  657;  Leyden,  Roulez,  pi.  xiv,  I  ;.  Gerhard,  Aus.  Vasen. 
Taf.  262. 

4  E.g.  Brit.  Mus.  B  246,  252,  255. 
6  Paris,  Bibl.  nat.   (de  Luynes,  pi.  12). 

6  Hartwig,  Taf.  xvi,  kylix  of  Euphronios  ;   Munich,  Jahn,  421  (Gerhard,  Aus.  Vasen,  Taf.  201),  etc. 

7  Hartwig,  Taf.  xxxvii,  1-2,  kylix  of  Amasis. 

8  Vatican  (Mus.  Greg.  II,  81),  Gerhard,  Aus.  Vasen.  Taf.  269-270. 

9  Hartwig,  Taf.  xxxvii,  1-2;   Berlin,  Furtw.  2263  ;   Athens,  Hartwig,  S.  87,  Fig.  loa. 

10  For  the  shield  cp.  the  kylix  of  Brygos,  Gerhard,  Aus.  Vasen.  Taf.  269  ;  and  for  the  hanging  sword, 
that  of  Amasis,  Hartwig,  Taf.  xxxvii,  1-2. 


GROUP  A:  CLASS  II,  17-18  51 

17.  Athens,  Nat.  Mus.  1828,  Cv.  1020.    Eretria.    H.  0.29  m.    Sketch 
by  Studniczka  \njahr.  Arch.  Inst.  II,  163.     Cp.  Atb.  Mitth.  XVI,  31 1 ; 
'E^>.  'A/3^.,  1886,  33;  Daremberg-Saglio,  Fig.   2680;    Klein,   Lieblings- 
inschriften,  S.  157,  13. 

Slip  brownish.  The  maeander  is  broken  both  by  horizontal  and  by  oblique  crosses. 
On  the  black  garment  the  brush  was  drawn  in  the  direction  of  the  folds,  and  the  folds 
themselves  (called  by  Studniczka  "Streifen")  were  added  in  purple  (or  white)  lines  of 
dull  color. 

An  ephebos  carrying  two  spears  in  his  left  hand  advances  rapidly  to  right,  looks 
back,  and  stretches  his  right  hand  back.  He  wears  a  black  chlamys,  and  a  petasos  hangs 
at  the  back  of  his  neck.  Eye  with  large  pupil;  the  hair  is  gathered  in  little  bunches, 
indicated  by  relief  dots,  in  front  of  the  ear  and  in  the  middle  of  the  forehead;  the  profile 
shows  a  short,  straight  nose,  full  lower  lip,  and  round  chin.  At  the  left  of  the  figure  is 
written  stoichedon.  TLAVKON 
KALOS 

18.  Paris,  Cab.  Med.   n,  de  Ridder  494.    Locri  ( ? ).    H.  0.21  m. 
Gaz.  Arch.  1885,  p.  284,  no.  16,  pi.  32,  2. 

Neck  and  mouth  modern.  The  shape  of  the  body  and  the  use  of  two  concentric 
rows  of  bars  to  ornament  the  shoulder  correspond  with  what  is  found  in  Group  III. 
Slip  brownish  yellow.  Above  is  a  maeander  with  horizontal  crosses;  below  on  the  edge 
of  the  black  glaze  are  two  purple  lines.  The  stag  has  thin  glaze  lines  and  dots. 

Artemis  hastens  to  right,  drawing  an  arrow  from  her  quiver  with  her  right  hand, 
and  holding  out  the  bow  in  her  left  hand.  Before  her  runs  a  deer.  She  wears  kekry- 
phalos,  sleeve  chiton,  and  a  "cape"  (or  chlamys)  fastened  on  the  right  shoulder.  The 
inscription  KALE  HE  PAI  £  is  partly  on  one  side,  partly  on  the  other. 

The  ephebos  on  no.  17  is  explained  by  Mayer  *  as  a  Kephalos,  who 
has  been  isolated  from  the  Eos-Kephalos  scene  which  is  so  common  on 
later  red-figured  vases.  He  is  indeed  very  like  the  Kephalos  on  some 
of  these  vases,2  and  the  analogy  of  other  lekythoi  justifies  us  in  looking 
for  some  more  complete  scene  from  which  this  figure  is  taken.  The 
resemblance  which  Mayer  points  out,  however,  is  of  a  somewhat  general 
character,  and  the  Eos-Kephalos  scene  became  common  only  at  a  later 
date.  In  particular  our  ephebos  extends  his  hand  back  as  if  in  con- 
versation with  some  one  following  him,  instead  of  making  a  gesture 
indicating  fright.  On  a  vase  bearing  the  name  Douris,  and  probably 
by  the  kylix  painter  of  this  name,3  an  athlete  is  represented  in  a  very 
similar  attitude,  surrounded  by  objects  indicating  a  palaestra. 

The  black  garment  with  folds  painted  on  it  in  dull  color  is  charac- 
teristic of  the  vases  in  the  following  group  (Group  B,  Class  IV),  and 

i  Ath.  Mitth.,  XVI,  311.  *  E.g.  Bull.  Arck.  tf*f»l.,  I,  1843,  TJV.  i. 

a'E<(>.'Jipx-  1886,  pi.  4;   Hartwig,  Meiueruhaltmt  1*8. 


ATHENIAN   WHITE    LEKYTHOI 


other  considerations  will  lead  us  to  place    this  "Glaukon"  series   of 
vases  among  the  later  vases  in  the  present  group.     The  present  vase 

belongs  in  the  "later  Glaukon  group" 
of  Bosanquet,1  in  which  the  lettering 
is  still  Attic  but  stoichedon,  and  which 
Bosanquet  dates  about  465  B.C. 

Number  18  shows  many  points  of 
likeness  with  both  no.  17  and  no.  12 
(woman  before  burning  altar);  two 
amphorae  in  Paris 2  also  show  the 
same  style  of  drawing.  The  eye  with 
large  pupil  against  the  upper  lid  and 
inner  angle  slightly  opened,  the  curls 
of  the  hair  in  relief,  the  short  straight 
nose  and  round  chin,  recur  on  all 
these  specimens;  the  Artemis  on  the 
Paris  amphora  3  is  almost  a  replica 
of  the  Artemis  on  our  lekythos,  and 
bears  the  Glaukon  inscription  of  our 
no.  17;  moreover  the  same  freedom 
and  grace  of  touch  appear  in  the 
drawing  on  all  these  vases.  Such 
drawing  is  to  be  expected  after  465 
B.C.  rather  than  before  that  date,  but 
Pottier's  suggestion,4  "the  latter  half 
of  the  fifth  century,"  seems  to  me 
too  late. 

19.  Athens,  Nat.  1975,  Cv.  1061. 
Eretria.  H.  0.31  m.  AeXrto^,  1889, 
p.  174,6;  Atb.  Mittb.  XVI,  S.  389 
(sketch  by  Wolters),  S.  310,  A.  2. 
(Fig-  23.) 

The  row  of  short  bars  above  the  palmettes 
on  the  shoulder  is  omitted.     Slip  thin,  brown- 
FIG.  23  (no.  10).  'srl-     Traces  of  the  preliminary  sketch  in  the 

soft  clay. 

A  woman  (body  and  feet  en  face)  stands  looking  to  right,  and  holding  in  both  hands 
a  large  flat  basket,  such  as  is  very  often  seen  in  later  representations  of  worship  at  the 


1  Jour.  Hell.  Stud.   1896,  p.   1 68. 

2  De  Luynes,  yasa  feints,  pi.  xxiv,  xxv. 


8  De  Luynes,  pi.  xxv. 

*  Gaz.  Arch.   1885,  p.  285. 


GROUP  A:.  CLASS  II,  19-20  53 

grave.  At  her  left  on  a  low  block  is  a  high  amphora  on  which  is  depicted  with  great 
care  a  warrior  on  horseback;  above  the  warrior  are  palmettes  and  below  are  lines  radiat- 
ing from  the  foot  of  the  vase. 

Although  the  drawing  on  this  vase  has  suffered  considerably,  there 
is  no  question  that  it  belongs  in  this  class,  and  it  is  probable  that  it  is 
closely  related  to  the  series  which  has  just  been  under  consideration. 
On  vases  of  the  following  groups  (B  and  C)  the  practice  of  represent- 
ing body  and  feet  en  face  is  not  unusual,  but  this  is  the  only  specimen 
of  it  which  occurs  in  the  present  class.  The  scene,  too,  is  unusual.  In- 
stead of  abbreviating  some  familiar  subject  which  vase  painters  had 
often  treated,  the  artist  of  this  lekythos  has  given  us  a  literal  scene  of 
worship  at  the  grave.  That  the  amphora  in  the  scene  really  is  a  grave 
monument  is  abundantly  proved  by  Dr.  Wolters  in  the  article  in  the 
Atbenische  Mittbeilungen  above  referred  to.  On  later  lekythoi  actual 
grave  monuments  are  occasionally  copied,1  but  usually  we  have  the 
conventional  stele  which,  along  with  the  grave  mound,  the  lekythos 
painter  chose  as  the  symbol  of  the  tomb.  Again,  real  vases  are  some- 
times represented  standing  on  the  steps  of  the  stele,  but  this  is  almost 
the  only  instance  of  a  lekythos  on  which  a  vase  is  used  as  itself  a  grave 
monument.2  The  drawing  is  not  at  all  unlike  that  on  a  lekythos  of 
the  following  Group  (B)  which  has  been  published  by  Weisshaupl; 3 
both  that  vase  and  the  present  one  differ  from  many  later  lekythoi  with 
grave  scenes,  in  that  on  these  two  the  grave  scene  is  drawn  with  a  cer- 
tain directness  which  disappears  later  when  the  artist  is  limited  to  one 
of  several  fixed  types. 

20.    Paris.     Gaz.  des  Beaux- Arts,  1866,  II,  p.  177. 

Artemis,  holding  a  bow,  pours  from  a  pitcher  in  her  right  hand  into  a  phiale  carried 
by  Apollo  (with  lyre). 

Unfortunately  the  description  of  this  vase  is  very  incomplete.  If 
it  should  be  classed  here,  it  is  the  only  one  of  the  present  series  on 
which  two  figures  are  represented;  on  several  of  the  smaller  vases  in 
the  same  technique  (Class  III),  however,  there  are  scenes  including 
two  figures.  On  red-figured  ware  of  the  severe  style  a  woman  often 
fills  a  cup  for  a  (departing)  warrior,  and  not  infrequently  this  scene  of 
human  life  is  transferred  to  the  world  of  the  gods.  E.g.  on  a  red- 
figured  lekythos  of  this  period  in  London  4  there  is  almost  the  same 
scene  which  is  seen  on  the  white  lekythos  in  Paris.  In  a  word,  if  this 

1  E.g.  the  stele  with  lion  on  top,  Athens,  Nat.  Mus.  1938,  Strena  Helbigiana,  S.  41. 

*  E.g.  Brit.  Mus.  D  56  and  65  ;  cp.  infra  in  Claw  V,  no.  16,  Cornell  Unirenity  Museum. 

8  Athen«,  Nat.  Mus.  1815  (3515) ;  Atk.  Mittk.  XV,  S.  40  f.  4  Brit.  Mitt.  E  579- 


54  ATHENIAN   WHITE   LEKYTHOI 

lekythos  belongs  in  this  group,  it  simply  means  that  one  more  scene 
familiar  on  red-figured  vases  of  the  earlier  part  of  the  fifth  century  is 
to  be  found  also  in  the  earlier  outline  technique. 

21.  Paris,    Louvre.      Rayet-Collignon,    Histoire    de    la    cer  antique 
grecque,   pi.   x. 

Slip  creamy  yellow.  The  maeander  above  is  broken  by  horizontal  crosses.  There 
is  a  purple  band  near  the  base  of  the  lyre  (to  attach  the  plectron  ?).  One  purple  line 
only  is  drawn  on  the  upper  edge  of  the  black  below  the  scene. 

In  front  of  three  Doric  pillars  which  support  an  entablature  of  which  the  maeander 
is  the  upper  member,  is  the  head  of  a  woman  turned  to  the  right,  and  before  her  is  a 
lyre  which  she  is  playing  with  her  left  hand.  The  eye  has  a  dotted  circle  for  a  pupil, 
and  its  inner  angle  is  slightly  open.  The  lips  are  full  and  the  chin  also  is  rather  full  and 
round;  the  nose  continues  the  line  of  the  forehead  in  a  straight  line,  and  the  inner  contour 
of  the  nostril  is  added,  although  it  is  curiously  out  of  position.  A  richly  ornamented 
kekryphalos  covers  most  of  the  hair,  but  a  mass  of  it  is  shown  over  the  forehead,  and 
looped  in  front  of  the  small  ears. 

2ia.  Arch.  Zeit.  1 880,  S.  136,  A.  5.  "Im  athenischen  Kunsthandel 
ein  besonders  vorziiglicher  Stuck  .  .  .  mit  einem  grossen  weiblichen 
Kopfe,  neben  welchem  noch  die  leierspielenden  Hande  vorkommen, 
von  vier  dorischen  Saule  iiberdacht." 

22.  London,    Brit.    Mus.    D    22.     H.    10  in.       White  Ath.    Vases, 
pi.  xiv.     Arch.  Zeit.  1885,  Taf.  xii,  2. 

Slip  brownish  yellow.  The  maeander  above  is  simple,  and  both  the  maeander  and 
the  lines  below  it  stop  with  the  main  scene.  Thin  brown  glaze  is  used  for  the  necklace, 
and  purple  within  a  black  outline  for  the  fruit. 

Between  two  scrolls  with  palmettes  is  a  bust  of  Athena,  holding  up  an  apple  or  pome- 
granate in  her  left  hand.  The  eye,  the  profile  (including  the  peculiar  line  for  the  inner 
contour  of  the  nostril),  and  the  hair  about  her  face  are  like  no.  21.  She  wears  a  high 
»  crested  helmet,  and  beneath  this  the  hair  falls  free  behind. 

23.  Burlington  Exhibition,   1888,  Cat.   135;    Coll.  Dr.   H.  Weber. 
Attica.     H.  0.273  m- 

The  scene  is  like  the  last,  except  that  the  apple  is  missing,  and  the  fingers  are  raised 
as  if  holding  a  flower.  The  reproduction  of  the  face  shows  a  less  characteristic  profile 
and  an  eye  of  the  simple  archaic  type. 

With  these  three  vases  belong  a  series  of  smaller  vases  in  the  next 
class  on  which  is  found  the  same  scene  —  a  large  female  head  turned 
to  the  right.  I  propose  to  postpone  any  discussion  of  this  scene  until 
those  vases  have  been  described.  Here,  however,  the  fact  may  be 
noted  that  not  only  this  eye  with  the  dotted  pupil  and  inner  angle 
slightly  open,  but  also  the  distinctive  profile  of  these  heads,  correspond 
very  closely  to  the  type  of  eye  and  profile  on  heads  by  Douris. 


CONCLUSION  OF  CLASS  II  (GROUP  A)  55 


Conclusion  of  Class  II  (Group  A~] 

An  examination  of  the  present  class  as  a  whole  shows  it  to  be  quite 
homogeneous.  Only  one  specimen  (no.  18)  differs  from  the  type  of 
form  and  ornamentation  which  characterizes  not  only  the  present 
class  and  the  preceding  class,1  but  also  one  series  of  black-figured 
lekythoi.2  In  neither  of  these  three  groups  is  the  shape  of  the  foot 
characteristic,  except  as  the  later  form  of  foot  with  red  edge  and  hori- 
zontal groove  at  the  top,  begins  to  appear  for  the  first  time.  In  the 
present  class  the  edge  of  the  foot  commonly  contracts  slightly  from 
the  bottom  up,  and  it  may  have  a  narrow  strip  of  black  glaze  in  the 
middle  of  the  edge.  Both  in  this  class  and  in  the  preceding  one  there 
are  two  varieties  of  slip,  —  a  thin,  dull,  brownish  yellow  slip,  and  an- 
other that  is  quite  a  creamy  yellow,  slightly  thicker,  and  very  smooth 
though  never  shiny.  On  some  lekythoi  one  may  detect  scratches  which 
seem  to  have  been  made  in  the  slip  while  it  was  being  polished  on  the 
wheel.3  In  both  Class  I  and  Class  II  there  are  several  instances  which 
show  that  the  maeander  pattern  was  added  after  the  main  scene  was 
already  painted;  but  it  is  only  in  the  present  class  that  the  lines  bound- 
ing the  maeander  are  broken  where  the  main  scene  interrupts  them.4 
Moreover  in  several  instances  the  lines  below  the  maeander  stop  with 
the  maeander  and  do  not  go  around  to  the  back  of  the  vase.5  The 
maeander  itself  is  either  of  the  simplest  type  and  unbroken,  or  else  it  is 
of  a  slightly  more  complex  type,  and  a  horizontal  cross  is  drawn  be- 
tween each  pair  of  the  maeander  pattern.  This  horizontal  cross  between 
pairs  of  maeander  is  seen  not  infrequently  around  the  interior  scene  on 
kylikes  by  Douris  (later  period).6  In  such  small  points  the  homo- 
geneous character  of  this  class  is  very  evident. 

Turning  from  the  ornamentation  to  the  main  scene  of  these  vases, 
we  can  ordinarily  discover  a  preliminary  sketch,  lightly  drawn  with  a 
dull  point  in  the  soft  clay.  This  sketch  is  not  only  very  careful,  but 
it  also  often  shows  details  which  were  not  added  when  the  scene  was 
finally  painted.  The  scene  as  a  whole  is  painted  in  fine  relief  lines  of 
black;  a  few  specimens  show  a  coarse  line  of  slightly  thinner  brownish 
glaze,  which  bounds  the  sleeves  and  the  fold  of  the  chiton;  again,  in  a 
few  instances,  thinner  glaze  is  used  for  the  folds  of  the  upper  part  of 

1  Described  above,  p.  23.  «  Cp.,  however,  Jour.  Hell.  Stud.,  1893,  pi.  i-iii. 

8Cp.  Jour.  Hell.  'Stud.  1893,  pi.  i-iii.  •  Nos.  i,  5,  11,  etc. 

8  E.g.  no.  4,  Brit.  Mus.  D  13.  «  Hartwig,  Taf.  Uv,  Ixvi. 


56  ATHENIAN   WHITE   LEKYTHOI 

the  chiton,  for  flame,  for  the  ends  of  the  hair,  etc.  As  on  black-figured 
vases,  purple  is  often  added  for  some  such  detail  as  a  curl  or  a  quiver 
band,  but  the  effect  of  purple  on  white  is  quite  different  from  its  effect 
when  applied  on  black.  On  two  vases  apparently  this  color  is  thinned 
to  a  purplish  brown,  and  used  for  a  flame,  or  for  a  stream  of  water.1 
Finally,  solid  black  is  used  regularly  for  the  hair,  for  the  himation 
when  that  garment  is  worn,  and  in  several  instances  for  an  accom- 
panying animal.  The  painter  is  accustomed  to  the  silhouette  effects 
of  the  black-figured  ware,  and  uses  them  to  produce  a  pleasing  variety. 
Except  in  the  case  of  one  or  two  animals,  the  stereotyped  incised  lines 
disappear;  and  where  the  artist  feels  it  necessary  to  render  the  folds 
of  a  garment,  he  does  it  in  a  more  realistic  manner  by  adding  lines  in 
a  dull  color.  In  a  word,  the  artist  of  these  vases  is  using  only  the 
materials  which  were  at  hand  in  the  potter's  shop,  the  glaze  in  a  thick 
and  a  thin  state,  applied  in  lines  or  in  masses,  and  the  purple  which 
had  been  applied  on  the  black  of  black-figured  ware;  but  from  these 
materials  he  is  seeking  to  produce  the  varied  and  realistic  results  which 
were  finally  attained  in  the  polychrome  white  lekythoi. 

With  two  exceptions  the  full  figures  (as  distinguished  from  the 
large  heads)  follow  one  schema:  the  figure  is  approximately  in  full 
profile,  and  both  arms  are  extended  in  front.  The  deviations  from 
this  position  are  in  later  specimens,  and  show  considerable  freedom  in 
the  drawing.  On  the  other  vases  the  woman  (or  the  man)  faces  to 
the  right,  and  either  stands  squarely  on  both  feet  or  moves  forward 
rapidly;  the  effort  to  introduce  an  easy  pose  comes  later.  The  profile 
attitude,  however,  is  not  quite  successful.  The  left  shoulder  is  brought 
into  view,  and  usually  the  left  breast  of  women  is  indicated  as  though 
the  garment  were  transparent,2  unless  it  is  covered  by  the  black  over- 
garment. This  profile  attitude  is  found  on  red-figured  lekythoi  and 
less  frequently  on  amphorae;  it  is  carefully  avoided  in  the  scenes  on 
the  outside  of  kylikes,  and  is  not  common  on  the  interior  of  these  vases. 

The  garments,  arrangement  of  the  hair,  etc.,  show  but  little  variety. 
The  women  all  wear  the  long  Ionic  chiton  with  sleeves,  and  under- 
girded  so  as  to  let  a  fold  fall  loose  about  the  hips.  Over  this  may  be 
a  himation  reaching  to  the  knees,  or  a  smaller  garment  fastened  on 
the  right  shoulder  and  leaving  the  right  arm  and  shoulder  free.  The 
hair  is  shown  in  a  low  mass  over  the  forehead,  and  is  looped  in  front 
of  the  ears;  it  may  fall  free  behind,  held  only  by  a  taenia  around  the 
top  of  the  head,  or  it  may  be  all  confined  in  a  cloth,  or  again  it  may 

1  Purple  on  white,  nos.  10,  ra,  21,  22;  brownish  purple,  nos.  i,  14.  2  Cp.  nos.  2,  5,  12. 


CONCLUSION  OF  CLASS  II  (GROUP  A)  57 

be  gathered  in  a  mass  at  the  back  of  the  head  and  held  by  a  long  cord 
wound  around  the  head  many  times.1  Ear-rings  and  bracelets  com- 
plete the  costume. 

Most  of  these  figures  show  more  or  less  clearly  a  distinctive  profile 
which  is  best  known  in  the  work  of  Hieron,  namely,  a  straight  nose 
continuing  the  line  of  the  forehead,  full  lower  lip,  and  large  round  chin. 
The  small  protruding  chin  often  seen  on  the  early  red-figured  vases 
occurs  but  once  or  twice.  The  eye  tends  to  be  rather  long,  and  is  set 
back  from  the  nose.  In  most  instances  the  inner  angle  is  closed  as 
in  the  normal  archaic  type;  on  nos.  14  and  15  the  inner  angle  is 
open,  but  the  pupil  is  nearly  in  the  centre  of  the  eye;  while  on  the 
"Glaukon"  group  (nos.  12,  17,  18)  the  eye  is  not  so  long,  and  the 
pupil  is  indicated  toward  the  open  inner  angle  against  the  upper 
lid.  On  two  of  the  vases  with  large  head  the  eye  has  a  dotted  circle 
for  the  pupil,  as  in  much  of  the  work  of  Douris. 

The  imitation  inscriptions  on  many  of  these  vases  show  that  some- 
thing in  the  way  of  writing  was  called  for,  and  on  four  of  them  there 
is  a  legible  inscription.2  These  inscriptions  are  in  the  Attic  alphabet, 
and  only  in  one  instance  (no.  17)  are  the  letters  arranged  stoichedon. 

With  reference  to  the  scenes  represented  it  is  necessary  only  to 
sum  up  what  has  been  already  said.  Some  of  the  scenes  (hydro- 
phoria;  serpent-temple-priestess;  warrior  arming)  can  be  traced  back 
to  black-figured  prototypes;  while  others  (Nike  pursuing;  woman, 
Artemis,  or  Nike  before  altar)  are  peculiarly  characteristic  of  the  red- 
figured  lekythoi  of  the  severe  period.  As  compared  with  the  scenes 
on  vases  of  Class  I  a  slightly  different  method  of  treatment  may  be 
pointed  out.  In  both  classes  the  scene  is  limited  to  a  single  figure, 
but  in  Class  I  we  found  traces  of  a  rational  effort  to  abbreviate  the 
scene,  and  even  by  a  single  figure  and  its  accessories  to  suggest  the 
larger  scene  which  was  in  the  painter's  mind;  ordinarily  in  the  present 
class  the  painter  just  cuts  out  the  figure  he  wants  without  essentially 
modifying  it.  This  latter  method  is  the  one  more  commonly  adopted 
in  decorating  the  interior  of  kylikes,  where  somewhat  the  same  con- 
ditions are  prescribed.  The  fact  that  so  limited  a  number  of  scenes 
are  found  on  vases  of  this  class  seems  to  indicate  that  they  were  pro- 
duced by  a  relatively  small  number  of  workmen,  and  those  without 
any  great  degree  of  originality.  We  have  seen  that  only  one  grave 

1  Hair  free  behind,   nos.   i,   3,  6,   9,    1 1,    14,   22,  23,  cp.    Hartwig,  Taf.  xxiii ;    hair    in  a    cloth, 
not.  2,  4,  7,  13,  15,  18,  21  ;  hair  in  a  mass  at  the  back  of  the  head,  nos.  5,  10,  12,  19. 
»N«.  3,4,  17,  18. 


58  ATHENIAN   WHITE    LEKYTHOI 

scene  is  found  in  this  class,  and  only  one  of  the  scenes  of  household 
life  which  are  common  in  the  next  group  of  these  lekythoi,  a  clear  in- 
dication that  the  lekythos  painter  is  as  yet  uninfluenced  by  the  use  to 
which  his  vase  is  to  be  put.  The  later  numbers  of  the  present  class 
undoubtedly  overlap  the  earlier  numbers  of  Group  B,  but  the  change 
of  technique  was  introduced  by  other  workmen,  who  at  the  same  time 
introduced  new  scenes. 

There  can  be  no  doubt  that  these  vases  were  produced  by  men 
accustomed  to  making  the  ordinary  red-figured  ware.  All  the  scenes 
(even  those  characteristic  of  black-figured  ware)  correspond  to  what 
are  found  on  red-figured  vases  of  the  severe  period;  the  preliminary 
sketch  with  a  dull  point  can  be  discovered  on  most  of  these  lekythoi, 
and  the  same  materials  were  used  on  both  classes  of  vases  to  produce 
somewhat  similar  effects.  The  most  striking  example  of  the  connec- 
tion between  the  two  kinds  of  ware  is  to  be  found  in  the  pair  of  lekythoi 
in  Berlin,1  a  pair  on  which  the  same  scene  is  painted,  evidently  by  the 
same  hand,  but  one  is  in  the  red-figured,  the  other  in  the  outline 
technique. 

GROUP  A:    CLASS  III.      Vases  with  red  neck,  mostly  small;    drawing 

in  black  relief  lines 

The  third  class  under  Group  A  is  less  homogeneous  than  the  first 
two,  since  it  contains  specimens  which  remind  the  student  of  more 
than  one  type  of  black-figured  lekythoi;  it  is,  however,  marked  off 
distinctly  from  the  first  two  classes  by  considerations  of  size,  shape, 
and  ornamentation.  Few  vases  of  the  present  class  are  more  than 
.20  m.  in  height,  and  many  of  them  are  less  than  .15  m.  high.  The 
body  of  the  vase  is  somewhat  heavier  than  in  the  case  of  those  which 
have  been  treated  before,  and  in  many  instances  it  begins  to  contract 
slightly  from  the  shoulder  down.  Often  the  mouth  is  low,  as  in  the 
earlier  black-figured  lekythoi.  Neck  and  shoulder  are  not  usually 
separated  by  a  plastic  ridge,  and  both  the  neck  and  the  inside  of  the 
handle  are  red  like  the  shoulder.  The  ornament  on  the  shoulder  rarely 
consists  of  palmettes,  and  when  they  do  appear,  they  are  carelessly 
drawn  and  may  be  only  four  in  number.  The  characteristic  ornament 
of  the  shoulder  consists  of  a  double  row  of  concentric  bars,  or,  in  a  few 
instances,  of  the  band  of  lotus  buds  pointing  out  from  which  the  two 
rows  of  bars  probably  were  developed.  The  slip  is  usually  of  the  thin 

1  Supra,  no.  14,  Berlin,  Inven.  3338. 


GROUP  A:  CLASS  III,  i  59 

brownish  yellow  type;  in  two  or  three  cases  it  is  thicker  and  of  a 
cream-yellow  color.  Above  the  main  scene  the  usual  maeander  (or 
maeander  broken  by  crosses)  is  rarely  replaced  by  lines  separated  by 
rows  of  dots  as  on  lekythoi  with  black  figures  on  a  white  ground  (cp. 
supra.  Fig.  14,  p.  13),  or  by  some  other  pattern  (e.g.  the  simplified  key 
pattern,  Fig.  24);  and  on  smaller  specimens  it  — «  — ,  — «  — , 
may  be  omitted  altogether.  Below  the  scene  the  —  ' —  I—  I— 
black  glaze  is  commonly  broken  by  a  rather  wide 
line  left  in  the  original  red  of  the  clay,  or  by  several  narrow  lines  either 
left  red  or  incised  to  show  the  red.  The  foot  usually  consists  of  a 
torus  with  a  band  of  black  on  its  upper  part,  and  above  this  a  flat  red 
member  (supra,  Fig.  10).  On  these  smaller  vases  the  drawing  is  some- 
what careless,  and  the  preliminary  sketch  is  rarely  found.  Solid 
black  garments  occur  only  three  or  four  times,  and  that  on  vases  which 
in  other  respects  do  not  exactly  correspond  with  the  rest  of  the  group. 
For  the  sake  of  convenience  in  study  this  class  will  be  discussed 
under  several  somewhat  arbitrary  subdivisions:  - 

a.  Vases  with  scrolls  and  large  palmettes  on  each  side  of  the  main 
scene. 

b.  Larger  vases  with  but  one  figure. 

c.  Smaller  vases  with  but  one  figure  (which  may  be  replaced  by  a 
large  head). 

d.  Vases  on  which  the  scene  consists  of  two  figures. 

e.  Vases   (rather  small,  and  with  but  one  figure)  on  which  thin 
yellow  glaze  is  used  for  the  garment  folds. 


a.  Vases  with  large  scroll  and  palmettes  on  each  side  of  the  main 
scene. 

i.  Athens,  Nat.  1858  (Coll.  398),  Cv.  1014.  H.  0.16  m.  Dumont, 
Peintures  ceramiques,  p.  40,  n.  2;  Dumont-Chaplain,  I,  pi.  xi,  2  (the 
reproduction  is  imperfect);  II,  p.  51,  n.  2. 

On  the  shoulder  a  row  of  short  bars  and  1  +  3+1  palmettes.  The  maeander  is 
simple;  below  the  scene  a  reserved  red  line,  and  a  purple  line  on  the  black.  Slip  brown. 
On  each  side  of  the  main  scene  are  two  large  palmettes  enclosed  by  lines  with  scrolls. 
The  shield  has  its  outline  incised  with  a  pair  of  compasses. 

A  warrior  moves  to  right  and  looks  back,  extending  his  right  hand  back;  in  his  left 
hand  he  carries  a  shield  and  two  spears.  The  tiger  (  ?)  on  the  shield  is  vigorously  drawn 
in  silhouette.  He  wears  a  chlamys  over  his  corselet.  The  profile  shows  full  lips  and 
round  chin;  the  eye  is  en  fact,  but  the  pupil  is  set  near  the  inner  angle;  the  curls  of  the 
hair  around  the  forehead  are  indicated  by  means  of  relief  dots. 


60  ATHENIAN   WHITE   LEKYTHOI 

This  attitude  has  already  been  discussed  in  connection  with  a 
lekythos  of  Class  II  (Athens,  1828,  Class  II,  17);  it  is  found  on  other 
lekythoi  of  the  present  class,  and  it  occurs  occasionally  in  interior 
scenes  on  kylikes  of  the  severe  period.  The  extremely  careful  and 
delicate  drawing  is  unusual  on  so  small  a  lekythos.  The  precision  of 
the  drawing,  as  well  as  the  small  head  and  high  cranium,  recall  the 
manner  of  Douris. 

2.  Athens,  Nat.  2023,  Cv.  1018.  Attica.  H.  0.22  m.  Benndorf, 
Griecb.  Sic.  Fas.  Taf.  xix,  3;  cp.  Gaz.  Arch.  1878,  p.  184;  Heyde- 
mann,  Gnech.  Vasen.  S.  4,  A.  13.  • 

The  shape  is  slenderer  than  most  of  this  group;  mouth  rather  low;  foot  of  the  type 
which  later  becomes  universal  (Fig.  n).  On  the  shoulder  two  rows  of  bars;  the  maean- 
der,  which  is  careful,  is  broken  by  horizontal  crosses;  below  the  scene  are  two  purple 
lines  on  the  black,  as  on  most  of  the  specimens  in  Classes  I  and  II.  Two  large  palmettes 
on  each  side  of  the  scene. 

Nike,  both  wings  raised  behind  her,  advances  toward  the  right,  holding  her  himation 
over  her  left  arm,  and  carrying  a  lighted  torch  in  her  right  hand.  She  wears  a  sleeve 
chiton  ornamented  with  thin  glaze  crosses,  and  a  himation  draped  to  leave  the  right 
arm  free.  A  stephane  is  left  white  about  the  head,  and  over  her  face  in  the  middle  of 
the  forehead  falls  a  small  tuft  of  hair.  The  name  NIKE  is  written  before  the  figure. 

While  this  vase  clearly  belongs  in  the  present  class  (e.g.  the  red  neck), 
from  the  shoulder  down  there  is  nothing  except  its  size  to  differentiate 
it  from  vases  of  the  preceding  classes.  The  stiff  folds  of  the  himation 
and  this  particular  attitude  of  walking  are  familiar  on  red-figured  vases 
of  the  earlier  period;  the  slight  archaism,  however,  is  hardly  notice- 
able, so  delicate  is  the  drawing.  Almost  the  same  figure,  but  drawn 
much  more  hastily,  is  seen  on  a  vase  from  Corinth  (Benndorf,  Griech. 
Sic.  Vas.  Taf.  xxxvi,  9;  and  cp.  Benndorf 's  reference  to  others  cited 
by  Knapp,  Nike  in  der  Vasenmalerei,  S.  27  f.) ;  this  vase  is  interesting 
in  that  it  gives  a  name  which  Benndorf  reads  as  ANATKE,  instead  of 
the  name  NIKE.  The  head  on  our  lekythos  (especially  the  profile  and 
eye)  and  the  wings  are  quite  like  those  on  a  red-figured  lekythos  found 
at  Gela  (Benndorf,  Griech.  Sic.  Fas.  Taf.  xlviii,  i),  on  which  we  read 
NIKE  before  the  figure,  and  HIITON  KAAO*  below  it,  above  a  burn- 
ing altar.  The  profile  is  very  fine  and  reminds  one  distinctly  of  the 
Olympia  pediment  sculptures,  and  of  the  "omphalos  Apollo"  at  Athens. 
The  small  head,  the  eye  with  dotted  pupil  near  the  inner  angle,  and  the 
garment  ornamented  with  strokes  of  thinned  glaze,  call  to  mind  again 
the  manner  of  Douris.  In  any  event,  it  is  probable  that  this  vase  and 
the  one  discussed  just  before  it  are  from  the  same  hand. 


GROUP  A:  CLASS  III,  2-3  61 

The  interpretation  of  the  figure  is  simplified  by  the  cases  where  it 
occurs  with  an  altar.  It  is  reasonable  to  suppose  that  a  Nike  should 
light  the  altar  flame  for  a  sacrifice  on  ocasion  of  a  victory;  on  the  fol- 
lowing vase,  however,  we  have  a  winged  "Artemis"  with  torch,  and 
on  a  lekythos  at  Oxford  (Ashm.  265,  Class  II,  3)  the  name  NIKE  is 
read  before  a  figure  in  an  "Artemis"  scene,  so  that  perhaps  the  torch 
should  be  regarded  as  an  attribute  which  has  come  to  Nike  from  this 
type  of  Artemis.1  Without  the  altar  the  present  scene  has  that  entire 
absence  of  specific  reference  which  is  characteristic  of  so  many  early 
outline  lekythoi. 

3.  Louvre  MNC  650.  Attica  (?).  H.  0.203  m-5  Cir.  0.228  m. 
Plate  II,  2. 

Low  mouth  and  rather  squat  body;  the  foot  curves  down  to  an  edge,  and  is  all 
black,  as  on  the  earliest  types  of  lekythoi.  The  shoulder,  separated  plastically  from 
the  neck,  is  ornamented  with  a  row  of  bars,  and  then  a  row  of  lotus  buds  pointing  out- 
wards. Slip  creamy  yellow.  Above  the  scene  is  a  simple  maeander;  below  it  the  black 
glaze  is  broken  by  a  broad  line  left  red,  on  either  side  of  which  are  purple  lines  on  the 
black.  A  preliminary  sketch  with  dull  point  in  the  soft  clay  gives  the  barest  outlines. 
A  dull  grayish  color  is  used  for  the  chiton,  and  on  it  the  folds  are  drawn  in  thin  glaze; 
the  himation  is  black  with  added  purple  folds;  the  torch  flames,  the  markings  of  the 
upper  wing  feathers,  and  the  inner  markings  of  the  deer  are  in  a  thin  yellow  glaze. 
The  wolf  is  black  with  added  purple  details.  On  each  side  of  the  scene  is  a  series  of 
several  palmettes  and  scrolls,  and  on  the  right  a  lotus  bud. 

A  woman  with  wings  raised,  holding  her  skirt  in  her  right  hand  and  carrying  a  lighted 
torch  in  her  left  hand,  moves  rapidly  to  right  and  looks  back.  The  wings  are  in  oppo- 
site directions,  i.e.  the  wings,  like  the  body,  are  seen  en  face.  She  wears  a  sleeve  chiton, 
represented  as  though  it  had  a  sort  of  train,  and  a  short  himation  draped  under  the  right 
arm.  Her  hair  is  looped  up  behind  and  fastened  on  top  of  the  head;  the  eye  is  en  face 
and  of  the  same  shape  as  the  female  eye  on  black-figured  vases.  At  the  left  a  she-wolf 
(or  bitch)  leaps  up  and  touches  her  skirt  with  its  fore  feet;  while  at  the  right  a  fawn  is 
running  in  front  of  her.  In  the  field  are  imitation  letters. 

Perhaps  no  other  outline  lekythos  shows  drawing  so  archaic  and 
at  the  same  time  so  charming,  as  the  one  under  consideration.  From 
the  standpoint  of  the  vase  painter  this  figure,  like  others  which  have 
already  been  considered  (Oxford,  Ashm.  265,  Athens,  Nat.  Mus.  2023), 
no  doubt  should  be  called  Nike;  although  it  is  obviously  suggested  by 
some  scene  (perhaps  a  relief  in  stone  or  metal)  representing  the  so- 
called  "Persian"  Artemis.2  This  type  of  Artemis,  a  winged  figure 
accompanied  by  wild  animals,  is  found  on  early  ware  from  Melos  and 

1  Cp.  Hartwig.  Meiittritbalen,  Taf.  Ixviii,  a,  S.  604,  A.  I. 

3  Cp.  c.g.  Arcb.  Ztit.  1854,  Taf.  Ixi ;   Baumcitter,  Denkmtltr,  Abb.  139. 


62  ATHENIAN   WHITE   LEKYTHOI 

Rhodes,1  and  again  on  the  Francois  vase;  it  does  not  appear  among  the 
regular  types  on  black-figured  ware,  but  instead  we  find  a  scene  in  which 
Artemis  and  Apollo  and  Leto  are  represented  with  fawns.  The  present 
figure  is  totally  different  from  the  quiet,  lifeless  Artemis  of  this  black- 
figured  scene.  Her  attitude,  however  (body  en  face,  feet  to  right  and 
head  to  left),  is  common  on  black-figured  ware,  and  continues  to  be  used 
on  many  of  the  early  red-figured  kylikes.2  The  manner  in  which  the 
skirt  is  held  up  belongs  to  the  art  of  the  beginning  of  the  fifth  century; 3 
the  parallel  folds  of  the  chiton  and  the  stiff  lines  of  the  himation  also 
suggest  an  early  date  for  this  lekythos.  The  profile  has  a  straighter 
line  for  nose  and  forehead  than  appears  on  the  earlier  signed  kylikes, 
but  the  full  round  chin  of  a  little  later  date  is  also  absent.4  The  treat- 
ment of  hair,  mouth,  hands,  feet,  and  drapery  may  be  compared  with 
that  on  a  red-figured  amphora  attributed  to  Phintias  or  Euthymides.5 
Long  toe  joints,  such  as  are  seen  on  this  figure,  are  associated  with  the 
work  of  Euphronios;  they  appear  also  on  a  vase  signed  by  Panphaios 
(the  decoration  of  which  is  sometimes  assigned  to  Euphronios),6  on 
which  the  wings  of  the  "wind-gods"  are  quite  like  the  wings  of  our 
"Artemis,"  and  the  mouth  is  treated  in  the  same  manner. 

The  use  of  color  on  this  lekythos,  especially  of  the  thin  orange- 
yellow  glaze  for  filling,  is  unique,  and  deserves  special  notice  as  an 
anticipation  of  the  later  use  of  color  on  polychrome  lekythoi.  The  near- 
est parallels  are  two  alabastra  of  about  the  same  period  as  our  leky- 
thos :  one  signed  by  Pasiades,7  which  perhaps  is  more  archaic,  although 
it  shows  some  marked  resemblances  to  the  lekythos  (the  treatment  of 
the  hair  is  the  same,  there  are  the  same  round  folds  along  the  bottom 
of  the  chiton,  and  a  black  stork  recalls  the  black  wolf  beside  "Artemis"); 
the  other  an  alabastron  of  freer  style  8  on  which  orange-yellow  is  used 
both  for  wing  feathers  and  for  the  himation.  The  same  color  is  also 
found  on  an  oinochoe  of  considerably  later  date,9  and  occasionally  on 
kylikes  with  a  white  slip.  Evidently  the  use  of  color  on  this  lekythos 
and  on  the  Pasiades  alabastron  is  an  early  experiment  which  was 
dropped  because  it  did  not  meet  with  great  popularity. 

1  Melos,  Berlin,  Furtw.  301  ;  Rhodes,  Brit.  Mus.  A  267. 

2  Murray,  Designs,  pi.  xi,  Brit.  Mus.  E  u,  by  Panphaios. 

8  Hartwig,  Meistcrscbalen,  Taf.  iv,  xxiv  ;  cp.  the  skirt  of  the  Nike  on  Taf.  xxviii. 

4  Cp.  the  profile  on  a  vase  "in  the  style  of  Douris,"  Murray,  Designs,  pi.  38,  Brit.  Mus.  E  64. 

«  Brit.  Mus.  E  256,  Cat.  Ill,  pi.  x. 

6  Ibid.  E  12. 

7  Ibid.  B  668,  White  Atb.  Fasts,  pi.  xviii  A. 

8  Berlin,  Furtw.  2258,  "  Stilstufe  des  Brygos." 

9  Brit.  Mus.  D  14;    Witt  Atb.  Vases,  pi.  xxi  B. 


GROUP  A:  CLASS  III,  4  63 

4.  Louvre  MNB  909.  Attica  (?).  H.  0.257  m-J  Cir.  0.29  m. 
Plate  III,  i. 

In  general  shape,  in  the  ornamentation  of  the  shoulder,  and  in  the  lines  on  the  body 
below  the  main  scene,  this  lekythos  resembles  the  one  just  described  (no.  3).  The  slip, 
however,  is  yellowish  brown  .(almost  bistre);  and  above  the  main  scene  the  ornament 
consists  of  three  rows  of  dots  between  parallel  lines.  Traces  of  a  preliminary  sketch 
drawn  in  the  soft  clay  with  a  dull  point  can  clearly  be  made  out.  Lion,  tree,  and  gar- 
ment are  in  solid  black,  with  details  added  in  rather  coarse  incised  lines.  The  anatomy 
of  Herakles  is  indicated  partly  in  black  relief  lines,  partly  in  dull  purplish  lines.  He 
wears  a  purple  taenia  about  his  head,  and  purple  is  also  applied  on  black  for  the  centre 
of  the  palmettes.  On  each  side  of  the  scene  is  a  series  of  four  palmettes  with  scrolls  and 
lotus  bud. 

Herakles  (nude,  drawn  in  outline)  kneels  on  left  knee  and  clasps  his  hands,  holding 
the  lion's  neck  in  his  bent  left  arm  and  strangling  it  till  it  gasps  for  breath.  The  lion 
attempts  to  push  the  head  of  Herakles  aside  with  his  paw.  Behind  them  is  a  tree  with 
leaves  and  fruit,  on  the  branches  of  which  hang  the  garment  of  Herakles  and  his  sword 
in  its  scabbard.  The  club  of  Herakles  is  behind  him,  and  in  the  field  above  are  imita- 
tion inscriptions. 

Almost  identically  the  same  scene,  with  the  addition  of  one  or  two 
more  figures,  is  found  on  a  series  of  black-figured  hydriae,1  on  the  ex- 
terior of  several  black-figured  kylikes,2  and  rarely  on  vases  of  other 
shapes.  So  stereotyped  has  the  scene  become  that  the  tree  with  gar- 
ment and  sword  is  hardly  ever  missing,  the  attitude  of  the  combatants 
is  the  same,  and  even  the  effort  of  the  lion  to  push  back  the  head  of 
Herakles  with  his  left  hind  leg  is  almost  always  repeated.  In  a  second 
type  the  figures  are  erect,  but  a  wrestling  scene  with  the  figures  nearly 
prostrate  is  especially  well  adapted  to  the  shoulder  of  a  hydria  and  to 
the  exterior  of  a  kylix  where  a  long,  narrow  band  is  to  be  ornamented. 
In  adapting  this  scene  to  a  lekythos  with  outline  drawing  where  only 
one  or  two  figures  were  permitted  by  custom,  the  painter  has  found  it 
necessary  to  abbreviate  it  by  dropping  all  the  spectators;  the  remaining 
figures  are  copied  without  change,  even  though  they  are  not  well 
adapted  to  a  square  field.  On  a  white  lekythos  with  silhouette  figures 
in  the  British  Museum3  another  black-figured  scene,  Herakles  and  the 
Cretan  bull,  is  abbreviated  in  the  same  way  by  omission  of  spectators. 
The  present  vase  is  one  of  a  comparatively  small  number  on  which  an 
animal  in  solid  black  appears.  No  special  significance  is  to  be  attached 
to  this  fact,  however,  except  as  showing  that  the  painter  (and  those 
for  whom  he  painted)  were  so  familiar  with  the  use  of  silhouette  figures 

1  Brit.  Mu».  B  301  ;  Wiirzburg,  Url.  116,  Gerhard,  Ant.   Vattm.  Taf.  loa. 
*  E.g.  Brit.  Mus.  B  434.  •  Brit.  MM.  B  616. 


64  ATHENIAN   WHITE   LEKYTHOI 

that  they  liked  the  effect  of  some  solid  black.  The  use  of  incised  lines 
on  the  present  vase  does  show  that  the  painter  was  still  under  the  in- 
fluence of  the  black-figured  technique.  The  hard  treatment  of  the 
muscles  and  such  small  points  as  the  "scalloped"  outline  of  the  hair 
show  that  the  vase  belongs  with  red-figured  work  of  the  severe  period. 
On  a  few  of  these  red-figured  vases  the  artist  has  made  some  slight 
attempt  to  render  the  expression  of  the  face,  and  it  seems  reasonable  to 
regard  the  firmly  set  mouth  of  this  Herakles  as  due  to  an  effort  of  the 
painter  in  this  same  direction. 

In  shape  and  ornamentation  this  vase  antedates  the  period  when 
the  type  of  lekythos  for  outline  work  had  become  definitely  fixed.  The 
use  of  the  lotus  bud  on  the  shoulder  and  of  the  conventionalized  checker- 
board pattern  over  the  scene  is  found  only  on  these  transitional  speci- 
mens. The  purple  spot  on  the  centre  of  the  palmettes  is  also  very  un- 
usual; so  far  as  I  have  noted,  it  occurs  only  on  vases  which  belong 
considerably  earlier  than  the  middle  of  the  fifth  century  B.C.1 

4a.   New  York,  Metrop.  Mus.     H.  0.257  m-     Plate  IV. 

The  body  of  the  vase  is  nearly  cylindrical;  the  rather  short  red  neck  is  separated 
from  the  shoulder  by  a  slight  plastic  ridge,  and  the  mouth  flares  at  the  top  (Fig.  2).  On 
the  shoulder  a  row  of  short  concentric  bars,  and  interlaced  lotus  buds  pointing  outward. 
Above  the  scene  is  a  simple  black  maeander  on  a  band  of  red;  below  it  the  black  glaze 
is  broken  by  a  reserved  red  line,  on  either  side  of  which  is  a  purple  line  on  the  black 
glaze.  The  foot  is  a  disk,  the  edge  of  which  is  grooved  above  and  has  a  strip  of  black 
below.  Slip  brownish  yellow,  slightly  lustrous.  No  preliminary  sketch.  In  the  main 
scene  solid  black  (dark  brown)  glaze  with  incised  details  is  used  for  Perseus  and  Pegasus; 
the  Medusa  is  drawn  in  outline  with  black  relief  lines  and  lines  of  thin  glaze.  Bright 
vermilion  is  freely  applied  both  on  the  black  and  directly  on  the  slip.  In  the  field  are 
imitation  inscriptions.  At  the  left  of  the  scene  are  three  palmettes  and  two  lotus  buds 
on  one  stem;  at  the  right  six  palmettes  and  one  bud,  also  on  one  stem.  In  the  centre 
of  each  palmette  is  a  spot  of  vermilion. 

Medusa  lies  on  the  ground,  her  head  toward  the  right,  her  shoulders  still  supported 
on  her  elbows.  The  clenched  hands  and  drawn-up  right  leg  seem  to  indicate  pain.  She 
wears  a  short  chiton  with  a  red  girdle,  above  the  girdle  the  folds  are  in  thin  glaze,  below 
in  black;  her  double-topped  endromides  are  red.  From  her  shoulders  rise  wings  of  a 
modified  oriental  type,  with  red  stripe.  Blood  is  gushing  freely  from  her  neck,  from 
which  Pegasus  has  almost  completely  emerged,  though  the  hind  legs  still  are  hidden. 
Pegasus  is  a  prancing  winged  horse  with  head  raised,  not  quite  half  the  size  he  assumed 
later;  vermilion  is  applied  on  the  tail,  the  neck,  and  on  the  inner  edge  of  the  wings. 

Above  and  to  the  left  of  Pegasus  Perseus  is  running  (or  flying)  rapidly  toward  the 
left,  he  carries  the  head  of  Medusa  in  a  red  wallet  (xi/Juris)  slung  on  his  extended  right 
arm,  and  in  his  left  hand  is  his  curved  knife.  On  his  head  is  a  red  petasos,  his  hair  is 
looped  up  behind,  over  both  arms  a  chlamys  is  loosely  draped,  and  on  his  feet  are  double- 

1  Cp.  the  discussion  of  Athens,  Nat.  Mus.  1809,  Class  I,  4. 


GROUP  A:    CLASS  III,  4a  65 

topped  endrotnides  (red  on  a  black  ground).     He  is  represented  as  a  beardless  youth, 
considerably  smaller  than  Medusa.1 

On  black-figured  Athenian  ware  both  early  and  late  the  scene  of 
the  death  of  Medusa  is  not  uncommon.2  The  full  scene  included  the 
beheaded  Medusa,  Perseus  fleeing  with  the  aid  of  Athena  or  Hermes 
or  both,  and  the  two  pursuing  Gorgons;  but  often  one  or  another  of 
the  figures  were  omitted.  The  high  recurved  wings  of  the  Gorgons, 
the  kneeling  position  of  Medusa,  the  attitude  of  Perseus  running  with 
arms  extended  in  opposite  directions,  and  the  endromides  (with  one 
flap)  worn  both  by  Perseus  and  by  the  Gorgons  are  characteristic  of  this 
scene.  On  red-figured  ware  the  scene  commonly  has  but  two  or  three 
figures,  Athena  standing  by  Perseus,  Perseus  and  a  pursuing  Gorgon 
(perhaps  on  opposite  sides  of  an  amphora),  or  as  here  Perseus  fleeing 
from  the  beheaded  Medusa.  Pegasus  springing  from  the  blood  of 
Medusa  is  found  rarely  on  red-figured  ware,  not  at  all  on  the  earlier 
ware.  It  seems  that  the  painter  of  this  lekythos  has  adapted  the  figure 
of  Perseus  with  slight  modification  from  the  scene  on  black-figured 
vases,  while  the  Medusa  resembles  the  Medusa  of  black-figured  vases 
only  in  her  wings  and  endromides. 

The  Perseus  on  this  vase  is  hastily  drawn,  but  in  spite  of  the  rude 
profile  and  clumsy  left  arm  it  is  apparently  the  hasty  work  of  a  painter 
who  knew  his  craft.  His  elevated  position  and  relatively  small  size 
certainly  look  like  an  effort  for  perspective,  yet  it  should  be  remembered 
that  one  type  of  Perseus  on  black-figured  ware  is  represented  in  the 
same  way,3  and  here  it  is  quite  improbable  that  the  painter  had  any 
thought  of  drawing  in  perspective.  As  compared  with  the  Perseus  of 
the  earlier  scenes  this  figure  has  a  very  different  balance,  which  creates 
the  impression  that  he  is  flying  rather  than  running;  here  also  the  posi- 
tion of  the  right  arm  is  in  a  measure  explained  by  the  wallet,  which  by 
this  means  is  exposed  to  view.  The  looped-up  back  hair  is  familiar 
on  red-figured  vases  of  the  severe  period.  The  position  of  the  petasos 
is  somewhat  peculiar,4  but  possibly  it  is  placed  well  forward  so  as  not 
to  be  displaced  by  the  rapid  motion.  A  chlamys  draped  over  both 
shoulders  is  not  infrequent  on  figures  of  Apollo;5  Perseus  on  earlier 

*  This  description  is  based  on  a  photograph  and  detailed  description  which  Dr.  Edward  Robiiuon  has  rery 
kindly  placed  at  my  disposal. 

*  Cp.  the  discussion  by  Jahn,  in  PAilologui,  XXVII,  i  f.  ;  by  Knarx,  ?*emoJe  Ptrui  f*M*m  grtifcn 
tractaverint ;  and  by  Kuhnert  in  Roscher's  Lexikon. 

'  Wien,  Masner,  121  ;   Berlin,  Furtw.  i68a  ;  Munich,  Jahn,  619. 

*  Cp.  the  petasos  of  Hermes,  Munich,  Jahn,  619. 

*  Naples,  Coll.  San  Angelo,  99,  Class  I,  no.  7. 

F 


66  ATHENIAN   WHITE   LEKYTHOI 

vases  had  a  chiton;  on  red-figured  ware  he  wears  either  a  chiton  or  a 
chlamys  fastened  on  the  right  shoulder.  While  the  curved  knife  is 
like  what  he  carries  in  other  scenes,  the  wallet  is  peculiar  in  that  it 
shows  the  head  of  Medusa  protruding.1  The  endromides,  also,  are 
decidedly  peculiar.  On  black-figured  ware  they  regularly  have  one 
long  flap  in  front,  and  rarely  a  wing  is  added  behind  for  Hermes 
or  Perseus;  on  red-figured  ware  they  are  usually  replaced  by  small 
wings; 2  here  it  would  seem  that  the  vase  painter  had  confused  the  wing 
with  a  second  flap,  for  I  have  not  found  any  other  clear  instance  of  a 
flap  both  behind  and  in  front  of  the  shoe.  The  long  toes  and  fingers 
demand  no  comment  on  a  figure  painted  in  the  black-figured  style. 

Except  for  the  wings  and  sandals  the  Medusa  shows  little  or  no  rela- 
tion to  the  figures  of  Medusa  on  earlier  ware.  The  nearest  parallel 
to  the  treatment  of  the  figure  on  this  lekythos  is  perhaps  found  on  a 
hydria  in  the  British  Museum,3  though  on  the  hydria  she  is  lying  in  the 
opposite  direction.  The  studies  of  wounded  figures  in  scenes  of  battle, 
such  studies  as  are  presupposed,  e.g.  by  the  wounded  figures  in  the  pedi- 
ments of  the  Aegina  temple,  are  presupposed  also  in  the  treatment  on 
this  lekythos.  The  resemblance  to  the  dying  warrior  at  the  south 
end  of- the  eastern  Aegina  pediment  is  very  striking,  especially  when  it  is 
remembered  that  the  vase  belongs  approximately  to  the  same  epoch  as 
these  sculptures.  The  wings  of  this  Medusa  are  a  rather  odd  modi- 
fication of  the  high  recurved  "oriental"  wings  which  belong  to  earlier 
representations  of  the  Gorgons.4  I  do  not  find  any  exact  parallel  for 
these  narrow  round-topped  wings,  though  the  general  shape  is  quite 
like  the  wings  of  the  little  souls  on  a  black-figured  loutrophoros.5  This 
same  short  chiton  is  worn  by  men,  e.g.  on  a  lekythos  of  the  preceding 
class; 6  the  use  of  thin  glaze  for  the  folds  of  the  upper  part  of  the  garment 
is  found  both  on  outline  lekythoi  and  on  red-figured  vases  of  this  period.7 
The  endromides  are  like  those  of  Perseus,  except  that  they  are  painted 
in  red  on  a  white  ground  and  not  on  a  black  foundation. 

On  vases  of  the  sixth  century  Pegasus  does  not  appear  in  the  present 
scene  from  the  Medusa  story.  The  Selinunte  metope  is  perhaps  the 
only  monument  before  the  fifth  century  in  which  the  birth  of  Pegasus 
is  represented.  On  several  vases  of  the  fifth  century  the  birth  of  Chry- 

1  Cp.  Brit.  Mus.  E  181. 

2  Berlin,  Furtw.  1652;   Munich,  Jahn,  619  and  405. 

8  Brit.  Mus.  E  1 8 1.  *  E.g,  Annali,  1851,  Tav.  P;    1866,  Tav.  R. 

6  Man.  Inst.  VIII,  Tav.  v. 

6  Class  II,  1 6,  Athens,  Nat.  Mus.  1964. 

7  Class  II,  5,  Athens,  Nat.  Mus.  1827  ;   III,  9,  Munich,  245. 


GROUP  A:  CLASS  III,  5  67 

saor  from  the  neck  of  Medusa  is  depicted  in  a  realistic  manner; '  an 
Etruscan  vase  and  a  Cyprus  sarcophagus  give  the  birth  of  Pegasus  and 
Chrysaor  together  from  the  neck  of  Medusa,  who  is  kneeling  as  in  the 
scenes  on  earlier  vases;2  on  later  south  Italian  ware  the  headless  Medusa 
sits  erect  with  her  hands  folded,  and  on  one  of  these  vases  the  head  and 
wings  of  Pegasus  may  be  seen  protruding  from  her  neck.3  So  far  as 
other  monuments  show,  the  painter  of  the  present  vase  was  following 
the  story  in  his  own  original  manner  when  he  inserted  the  Pegasus 
here,  instead  of  adapting  the  scene  from  some  previous  work.4 

It  is  quite  customary  on  lekythoi  of  Group  A  to  find  a  scene  from 
black-figured  ware  abbreviated  to  one  (or  two)  figures.  The  pecu- 
liarity of  the  present  vase  lies  first,  in  the  freedom  with  which  the  painter 
has  introduced  new  meaning  into  the  scene,  and  secondly,  in  his  in- 
consistent use  of  the  black-figured  and  outline  technique.  While  in 
Class  I  the  figures  are  in  black  and  accessories  in  outline  and  in  Class 
II  the  figures  are  in  outline  and  accessories  often  in  black,  here  one 
figure  is  in  black  and  the  other  figure  in  outline.  Difference  of  treat- 
ment corresponds  with  the  difference  of  technique,  in  that  the  Perseus 
is  adapted  from  the  high-running  Perseus  of  the  black-figured  scene, 
while  the  Medusa  is  reclining  as  on  the  earlier  red-figured  ware.  The 
originality  of  the  painter  is  evident  in  his  treatment  of  the  wings,  the 
endromides,  and  the  figure  of  Pegasus,  as  well  as  in  certain  realistic 
details.  To  this  realistic  trend  may  be  attributed  the  fairly  successful 
treatment  of  the  human  form  in  complex  attitudes,  the  view  of  Medusa's 
head  protruding  from  the  wallet,  the  study  of  soft  material  in  the  chiton 
of  Medusa,  and  the  effort  to  express  the  pain  of  a  person  dying  from  a 
wound  in  the  figure  of  Medusa. 

5.    Collection  A.  B(arre),  Froehner,  no.  353.     Attica.     H.  0.16  m. 

On  the  red  shoulder  are  black  palmettes.  The  kantharos  and  club  are  solid  black, 
the  flame  red  on  a  white  ground;  the  remainder  of  the  drawing  is  in  outline. 

Between  two  scrolls  with  palmettes  and  lotus  bud  stands  Herakles,  leaning  forward 
on  his  club;  in  his  left  hand  is  a  fruit,  in  his  right  a  kantharos.  Before  him  is  an  altar 
with  a  fire  on  it.  He  wears  the  lion's  skin  girded  over  a  short  tunic.  Four  letters  are 
scattered  in  the  field.5 

A  series  of  scenes  representing  a  goddess  (or  woman)  before  an 
altar  has  been  discussed  under  Class  II.  The  appearance  of  Herakles 

1  Brit.  Mus.  E  181  ;  Stackelberg,  Die  Graber  der  Hellene*,  Ttf.  39;  cp.  the  terra-cotta,  Baumewter, 
Dentma/er,  Abb.  1438.  a  Roscher,  Lexikon,  III.  1031,  Fig.  3  ;  Munich  rate,  Jahn,  910. 

8  Brit.  Mat.  Cat.   Pates,  IV,  xiv,  a,  F  $OO  ;    Muteo  Borbonico,  XIII,  Ta».  59. 
4  Probably  the  closest  parallel  is  the  va»e  published  by  Gerhard,  Trinkubale*,  Taf.  ii-«ii. 
6  This  vase  is  known  to  me  only  by  the  description  and  reproduction  in  Froehncr's  catalogue. 


68  ATHENIAN   WHITE   LEKYTHOI 

in  such  a  scene  perhaps  calls  for  some  comment.  On  a  black-figured 
amphora  in  the  British  Museum  l  Hermes,  Herakles,  and  lolaos  are 
represented  in  a  procession  playing  musical  instruments  and  accom- 
panied by  animals,  —  it  would  seem  to  be  a  procession  before  a 
sacrifice.  Herakles  and  Hermes  appear  again  by  an  altar  on  a 
pseudo-Panathenaic  amphora.2  At  least  three  vases  represent  Herakles 
actually  engaged  in  the  act  of  sacrifice:  (i)  a  krater  in  Vienna,3  which 
gives  Herakles  sacrificing  by  an  idol  marked  Chryse  in  the  presence  of 
Nike  and  Jason  (  ? ) ;  (2)  fragments  of  a  krater  in  London,4  on  which 
Athena,  Philoktetes,  and  Lichas  are  present  at  a  similar  sacrifice; 
and  (3)  fragments  of  a  large  vase  found  at  Kertsch,5  which  gives  Lichas, 
Herakles,  and  probably  Hyllos  engaged  in  a  sacrifice,  doubtless  the 
sacrifice  on  Mt.  Oeta.  The  present  scene  cannot  be  regarded  as  an 
abbreviation  of  either  of  the  sacrifice  scenes  mentioned.  It  should 
rather  be  classed  with  the  representations  of  a  god  before  an  altar,  a 
scene  by  no  means  uncommon  on  red-figured  lekythoi  of  early  date 
and  on  the  interior  of  kylikes.  The  meaning  of  the  scene  has  been  dis- 
cussed above  (p.  42  f.).8 

If  we  may  judge  by  Froehner's  reproduction,  the  drawing  on  this 
vase  is  considerably  more  free  than  on  the  previous  numbers  of  the 
present  class.  Herakles  is  still  bearded,  and  the  lion  skin  is  girded  over 
a  short  chiton,  as  is  usual  on  later  black-figured  ware;  it  is  less  common 
to  see  the  lion's  head  pushed  back  so  as  to  leave  the  head  of  Herakles 
uncovered. 

5a.   Palermo,  Selinunte  room.     H.  to  shoulder  about  0.18  m. 

Mouth  and  neck  gone.  On  the  shoulder  a  row  of  bars  and  a  row  of  lotus  buds. 
Above  the  scene  a  double  row  of  dots. 

Between  large  palmettes  with  scrolls  stands  a  youth  in  profile;  he  leans  forward  on 
his  staff  and  holds  up  a  wreath  (  ?)  in  his  right  hand.  The  loosely  draped  himation  leaves 
the  right  side  of  his  body  free. 

6.  Paris,  Hotel  Lambert.     De  Witte,   Catalogue,  no.    92.      Locri 
H.  0.20  m. 

Between  large  black  palmettes  an  ephebos  stands  facing  toward  the  right.  He 
wears  a  himation,  and  at  his  feet  is  a  black  (silhouette)  dog. 

7.  Paris,  Hotel  Lambert.     De  Witte,  no.  90.     Locri.     H.  0.14111. 

An  ephebos  runs  to  the  right  and  looks  back;  on  either  side  a  series  of  black  pal- 
mettes. 

1  Brit.  Mus.  B  167.  2  Annal'i,  1836,  Tav.  F,  2.  8  Arcb.  Zeit.  1845,  Taf-  3S>  r- 

*  Brit.  Mus.  Cat.  fasts,  III,  E  494,  pi.  xvi.  6  Comptes  rendus,  1876,  p:   161,  Atlas,  pi.  v,  I. 

6  The  scene  is  elaborated  on  several  hydriae,  e.g.  6.1'ite  ceramiquc,  II,  pi.  xxxiv,  xxxva. 


GROUP  A:  CLASS  III,  sa-9 


69 


These  two  lekythoi  are  known  to  me  only  from  the  description  of 
De  Witte.  Number  7  repeats  a  familiar  theme;  number  6  is  the  more 
interesting  of  the  two  in  that  a  black  animal  occurs  for  the  fourth  time 
in  the  present  series. 

8.  Girgenti,  Mus.  municip.  Case  IV,  22.      Height  originally  about 
0.22  m. 

On  the  shoulder,  which  is  covered  with  the  slip,  are  bars  and  lotus  buds.  The  slip 
is  brownish.  Above  the  scene  is  a  simple  maeander,  below  it  three  red  lines  reserved  in 
the  black  glaze.  Drawn  in  relief  lines  of  glaze  which  is  now  reddened  by  the  action  of 
fire.  The  mouth  is  gone. 

A  Bacchante  dances  toward  the  left  and  looks  back;  both  hands  are  extended, 
covered  with  her  garment.  She  wears  an  Ionic  chiton,  undergirded;  her  hair  falls  free 
on  her  shoulders.  Her  face  has  disappeared.  On  each  side  are  two  large  palmettes. 

This  type  of  dancing  Bacchante  with  her  garment  held  out  to  cover 
her  hands  is  discussed  in  connection  with  a  lekythos  of  Class  VII;1 
although  the  figure  is  not  limited  to  a  definite  date,  still  it  is  probable 
that  this  vase  and  the  specimen  under  Class  VII  are  not  far  apart  in 
time. 

9.  Munich,  Jahn,  245  (1758).   H.  0.21 6m.; 
Cir.  0.234  m.     (Fig.  25.) 

The  shape  is  approximately  the  developed  lekythos 
type,  with  rather  flat  shoulder.  On  the  shoulder  a  band 
of  short  bars,  then  a  series  of  lotus  buds.  The  slip  is 
yellowish  brown,  hard  and  thin.  Above  the  scene  is  a 
narrow  ivy  leaf  band,  carelessly  executed;  the  black 
glaze  below  the  slip  is  broken  by  a  wide,  red  line,  on 
either  side  of  which  are  purple  lines  on  the  black.  The 
use  of  thin  glaze  is  apparently  due  to  retouching. 

A  Bacchante  moves  toward  the  right  and  looks  back 
(the  head  and  feet  in  profile,  body  en  face).  The  figure 
from  the  waist  up,  together  with  the  "tennis  racket"  in 
her  right  hand  and  the  serpent  in  her  left  hand,  appears 
to  be  modern.  The  skirt  of  the  chiton  is  not  retouched. 
On  either  side  are  two  large  stiff  palmettes  with  scrolls 
and  lotus  bud.  An  imitation  inscription  occurs  at  the 
right  of  the  figure.  FIG.  25  (no.  9). 

This  vase  possesses  some  interest  because  it  has  been  so  skilfully 
retouched.  The  feet  with  the  long  toe  joints  (cp.  nos.  3  and  4  above) 
are  ancient,  and  so  is  the  skirt  with  its  archaic  parallel  folds.  The  use 
of  thin  glaze  applied  with  a  fine  brush,  the  peculiar  sleeves  and  wide 

»  D  VII,  a,  no.  3,  Bologna,  Pell.  355. 


70  ATHENIAN   WHITE    LEKYTHOI 

neck  band,  "  the  tennis  racket,"  the  sketchy  treatment  of  eye  and  hair, 
and  the  free  drawing  of  the  face  betray  a  modern  hand. 

The  ivy  leaf  band  above  the  scene  is  unusual  on  white  lekythoi, 
but  it  is  found  on  a  few  later  black-figured  specimens.  The  use  of 
this  ornament  harmonizes  with  the  shoulder  and  with  the  lines  below 
the  scene;  together  they  suggest  a  rather  early  date  for  this  vase. 

10.  Raccolta  raimondiana.  Politi,  Sette  vasi  greco-sicoli-agrigentini, 
p.  9,  Tav.  ii. 

"Ripresenta  un  giovane  di  belle  forme,  ignudo,  galeato,  io  schinieri  alle  gambe,  il 
parazonio  a  doppio  balteo  pendente  al  manco  lato,  e  con  due  giavelotti  nella  destra.  Ha 
gia  spiccato  un  salto  per  afferrar  le  briglie  di  un  cavallo.  ...  II  doppio  balteo  e  di 
bianco  sovrapposto,  e  cosi  la  stretta  banda  che  gli  cinge  la  chioma  in  parte  nascosta  dell' 
elmo.  II  fodero  del  parazonio  e  tinto  in  rosso  listato  nero." 

The  illustration  shows  four  palmettes  with  lotus  buds  on  each  side 
of  the  scene.  The  drawing  on  the  vase  shows  some  slight  resemblance 
to  that  which  seems  to  be  spurious  on  the  lekythos  just  described;  the 
resemblance  may  be  due,  however,  simply  to  the  manner  in  which  the 
drawing  is  reproduced.  The  other  lekythoi  on  which  this  scene  of 
youth  and  horse  is  found  have  been  mentioned  already.1  As  com- 
pared with  them,  we  find  here  the  same  spirited  horse  running  with 
head  raised,  the  same  naked  ephebos  running  beside  the  horse  and 
throwing  himself  to  stop  the  horse.  The  only  noticeable  difference 
is  that  in  Politi's  illustration  horse  and  youth  face  toward  the  left.  It 
will  be  noticed  that  the  present  vase  (as  well  as  the  one  discussed  under 
Class  I)  shows  affinities  both  with  the  present  class  of  lekythoi,  and 
with  the  class  of  black  lekythoi  to  which  the  one  in  Paris  belongs.  The 
palmettes  and  the  lotus  bud  on  each  side  of  the  scene  are  characteristic 
of  the  present  group  of  outline  lekythoi  and  are  not  used  elsewhere  in 
the  same  manner.  On  the  other  hand,  the  subject  represented,  the 
vigor  of  the  scene,  and  some  details  of  the  technique  cannot  be  paralleled, 
so  far  as  I  can  ascertain,  among  outline  lekythoi.  The  use  of  incised 
lines  demands  that  treatment  of  the  hair  for  the  youth  and  for  the 
horse's  mane  which  is  seen  both  on  the  black  and  on  the  white  speci- 
mens. The  eye  of  the  youth  is  unique  among  white  outline  lekythoi, 
but  it  does  not  seem  out  of  place  on  a  black  lekythos.  The  similarity 
of  the  scene  on  all  the  specimens  under  discussion  is  striking,  and  it 
would  seem  that  they  must  have  been  produced  together.  This  is 
the  only  instance  in  which  I  have  been  able  to  discover  clear  evidence 
that  incised  outline  work  on  black  influenced  drawing  in  outline  on  a 

1  A  I,  no.  8,  Boston,  8374;  p.  33. 


GROUP  A:  CLASS  III,  10-12  71 

white  slip.  Accordingly  it  seems  to  me  very  rash  to  infer  that  the 
practice  of  outline  drawing  on  white  was  in  any  measure  due  to  incised 
drawing  on  black. 

n.   Raccolta  raimondiana.     Politi,  ibid.  p.  10,  Tav.  ii. 

"Presenta  una  donna  seduta,  cuffiata,  con  tunica  sottilmente  increspata,  e  manto  a 
larghe  pieghe  che  la  cuopre  dal  mezzo  in  giu.  £  rivolta  ed  alza  le  braccia  verso  un  piccolo 
disco.  .  .  .  Vedesi  in  terra  avanti  i  di  lei  piedi  un  pavoncino  similmente  in  nero,  in 
atto  di  beccare  in  terra." 

The  plate  shows  two  large  palmettes  with  scrolls  and  lotus  bud  on 
each  side;  by  one  of  the  palmettes  a  black  lekythos  hangs  in  the 
field.  This  scene  differs  from  those  on  the  last  two  vases  in  that  both 
the  subject  and  the  character  of  the  drawing  is  what  one  might  expect 
on  lekythoi  of  the  pres- 
ent type.  A  woman 
seated  and  engaged  in  a 
game  of  ball  is  found  on 
other  small  lekythoi  of 
the  present  series  and  on 
several  aryballoi.1  The 
seat,  the  garments,  and 
the  treatment  of  the  hair 
can  also  be  paralleled 
without  difficulty.  The 
inner  angle  of  the  eye  is 
open,  but  the  eye  is  still 
rather  long;  this  sort  of 
eye  is  most  common  on 
the  second  large  group 
of  lekythoi,  and  on  one 
or  two  of  this  second 
group  the  black  crow  is 
also  seen  with  its  mis- 

FIG.  26  (no.  12). 

tress. 

12.   Naples,  Heyd.  2763.    Locri.    H.  0.20  m.;  Cir.  0.23  m.    (Fig.  26.) 

Developed  lekythos  shape.  On  the  shoulder  is  a  band  of  short  bars,  and  then  a 
series  of  lotus  buds  pointing  out.  The  slip  is  yellow-brown  with  quite  a  shiny  surface. 
Above  the  scene  is  a  simple  maeander.  The  scene  itself  is  drawn  in  very  fine  lines  of 
nearly  black  glaze,  and  the  hair  of  the  goat,  as  well  as  the  hair  and  beard  of  the  satyr, 
is  drawn  by  light  touches  of  a  brush  charged  with  a  thin  light  brown  paint  that  appears 

1  Cp.  also  a  kylix  in  Leyden,  Roulez,  pi.  xx. 


72  ATHENIAN   WHITE    LEKYTHOI 

to  be  duller  than  the  paint  ordinarily  used.  On  the  edge  of  the  himalion  is  a  dull  red 
border.  The  foot  curves  down  to  a  sharp  edge  and  is  all  black,  as  on  earlier  specimens 
of  black-figured  lekythoi  (cp.  no.  3  supra). 

Behind  a  large  goat  (facing  to  the  right)  and  partly  hidden  by  it  stands  a  satyr,  also 
facing  to  the  right.  He  wears  a  himation,  is  bearded,  and  the  crown  of  the  head  is  bald. 

No  similar  scene  is  found  on  any  other  outline  lekythos,  nor  is  there 
any  parallel  to  the  technique  of  this  vase.  Like  some  others  of  the 
series  now  under  examination,  the  vase  is  to  be  regarded  as  an  ex- 
periment; and  it  is  not  impossible  that  an  experiment  so  out  of  line 
with  the  usual  outline  lekythoi  was  made  in  Italy  rather  than  in  Greece. 
The  goat  is  often  found  with  Dionysos  or  with  satyrs  on  later  black- 
figured  and  earlier  red-figured  ware,  but  in  this  instance  it  is  unusually 
large.  In  adapting  his  subject  to  lekythos  traditions  the  painter  has, 
as  in  many  instances,  left  it  without  any  particular  meaning. 

It  is  a  noticeable  fact  that  several  of  the  lekythoi  just  enumerated 
show  marked  affiliations  with  black-figured  lekythoi  of  an  earlier  date. 
The  low  mouth  occurs  on  several  of  them;  some  have  the  developed 
lekythos  shape,  but  others  have  the  rather  squat  body  with  sides  re- 
treating from  the  top  down,  which  is  regularly  found  on  lekythoi  of 
the  preceding  century;  on  two  of  them  the  foot  also  is  of  the  early 
type,  i.e.  it  comes  down  to  a  sharp  edge  and  is  all  black.  The  earliest 
ornament  for  the  shoulder  after  the  animal  frieze  was  the  series  of  inter- 
laced lotus  buds,  and  more  specimens  of  this  shoulder  ornament  are 
found  in  this  series  than  among  all  other  outline  lekythoi.  It  is  no 
doubt  true  that  the  use  of  palmettes  on  each  side  of  the  central  scene 
is  nothing  more  than  a  temporary  fashion,  yet  the  use  of  it  as  a  criterion 
brings  together  a  number  of  lekythoi  which  have  other  points  in  com- 
mon and  which  are  allied  to  certain  types  of  earlier  black-figured 
lekythoi. 

In  spite  of  great  differences  of  detail,  the  present  series  of  lekythoi 
falls  into  two  sets.  Numbers  1-5  were  found  in  Attica  and  correspond 
to  two  types  of  red-figured  vases  from  the  same  source;  most  or  all  of 
the  last  seven  were  discovered  in  Italy  and  Sicily,  and  show  some  marked 
peculiarities.  Numbers  6  and  7  are  known  to  me  only  from  a  meagre 
description  and  probably  repeat  common  lekythos  types.  Number  9 
has  been  retouched,  but  the  drawing  originally  was  from  the  "severe" 
period;  no.  10  appears  to  be  a  unique  example  of  the  influence  of  incised 
outline  drawing;  no.  n  presents  a  familiar  type  rather  freely  drawn; 
and  no.  12  is  an  experiment  in  the  use  of  color,  drawn  perhaps  later 


GROUP   A:   CLASS   III,    12  73 

than  any  of  the  other  specimens.  The  first  five,  both  in  the  style  of 
drawing  and  in  the  figures  themselves,  recall  the  work  of  the  great  Attic 
kylix  painters.  Numbers  I  and  2  show  more  than  one  characteristic  of 
the  style  of  Douris;  nos.  3  and  4  carry  us  much  farther  back,  although 
the  scene  on  no.  4  is  still  one  which  is  characteristic  of  the  kylix.  The 
nearest  parallels  to  no.  3  on  the  other  hand  are  found  in  a  series  of 
alabastra,  one  of  which  bears  the  name  of  Pasiades.  Number  5  is 
later  than  any  of  the  four  preceding,  and  again  the  nearest  parallels 
are  found  among  kylikes. 

One  of  the  series,  no.  4,  is  transferred  from  the  black-figured  tech- 
nique with  only  the  slightest  concessions  to  the  demands  of  the  new 
technique.  On  three  others  an  animal  is  drawn  in  solid  black,  a  de- 
vice which  has  already  been  discussed  in  Class  II  (p.  40);  this  practice 
is  derived  from  the  regular  black-figured  technique  only  in  the  sense 
that  the  artist  liked  the  bold  effect  of  some  solid  black,  though  the  use 
of  incised  lines  in  some  instances  may  denote  a  closer  connection.  The 
same  fondness  for  black  is  seen  in  the  black  garments  of  some  figures 
on  vases  of  Group  II.  Where  the  animal  is  necessary  to  the  scene,  as 
in  the  contest  of  Herakles  and  the  lion  (no.  4),  or  in  the  case  of  the 
abbreviated  sacrificial  procession,  the  black  animal  may  be  due  simply 
to  tradition  as  yet  not  set  aside.  The  animals  associated  with  Artemis 
are  attributes,  though  they  may  be  regarded  as  essential  to  the  scene; 
the  dog  with  his  master  and  the  bird  with  her  mistress  are  simply 
adjuncts  to  make  the  scene  richer.  The  dog  with  his  master  is  seen  on 
grave  monuments,  but  is  rare  on  lekythoi;  the  domestic  bird,  on  the 
other  hand,  is  an  interesting  feature  of  the  whole  history  of  lekythos 
painting. 

The  first  series  of  vases  under  Class  III  may  contain  vases  thirty 
or  forty  years  apart;  it  is  in  no  sense  a  compact  group;  and  yet  it  seems 
to  me  probable  that  these  vases  were  for  the  most  part  the  product  of 
some  one  workshop,  or  some  one  group  of  painters.  The  affiliations 
with  lekythoi  which  antedate  outline  painting  in  shape,  in  decoration, 
and  in  the  use  of  black  are  characteristic  of  the  series.  The  very  ten- 
dency to  experiment  within  certain  limits,  may  be  regarded  as  the  mark 
of  some  one  workshop.  Nor  does  the  predilection  for  an  animal  in 
the  scene  appear  elsewhere  in  such  a  degree.  A  comparison  of  the 
palmettes  on  these  lekythoi  with  the  palmettes  on  red-figured  ky- 
likes of  the  later  "severe"  style  confirms  the  suggestion  already  made 
that  these  lekythoi  were  made  by  men  who  were  accustomed  to  paint 
kylikes. 


74  ATHENIAN   WHITE    LEKYTHOI 

b.  Vases  over  O.2O  m.  in  height  (mostly  about  0.25  m.);  the  scene 
consists  of  but  one  figure. 

13.  Collection  von  Branteghem,  Froehner,  no.  175.     H.  0.24  m. 

Nike  stands  facing  to  the  right  before  an  altar  with  flame,  and  makes  libation.  Her 
left  hand  is  raised  in  the  attitude  of  worship. 

The  scene  representing  Nike  before  an  altar  has  been  discussed 
above  (p.  41  f.);  in  the  same  class  there  were  also  lekythoi  picturing 
Artemis  or  a  woman  making  a  libation  by  a  burning  altar.  The  hand 
raised  in  worship  is  seen  in  reliefs  with  scenes  of  worship  more  com- 
monly than  in  the  more  generalized  vase  paintings. 

14.  London,  Brit.  Mus.  D  31.     Athens.     H.  10  in. 

Shape  rather  slender.  The  yellowish-brown  slip  extends  over  the  shoulder,  but  is 
omitted  on  the  band  for  the  ornament  above  the  scene.  On  the  shoulder  five  palmettes 
in  black.  Above  the  scene  pairs  of  a  maeander  pattern  are  separated  by  horizontal 
crosses.  The  scene  itself  is  much  defaced.  Below  the  scene  2  +  3  narrow  lines  in 
the  red  of  the  clay. 

Iris  ( ?),  a  winged  figure  with  wings  extended  in  opposite  directions,  moves  rapidly 
toward  the  right  and  looks  back.  Her  left  hand  is  held  out  before  her,  palm  up;  the 
right  hand  holds  a  kerykeion  behind.  She  wears  short  chiton,  bracelets,  and  winged 
endromides. 

The  representations  of  Nike  in  rapid  motion  are  to  be  interpreted 
as  referring  to  the  messenger  of  the  gods  bearing  word  of  victory;  in 
the  present  instance  she  is  replaced  by  the  Homeric  messenger  of  the 
gods  in  the  same  attitude.  Iris  with  the  kerykeion  and  in  the  same  dress 
as  on  our  lekythos  is  seen  on  a  red-figured  vase,1  perhaps  separating 
Apollo  from  Idas  and  Marpessa;  on  another  red-figured  vase  she  re- 
places Nike  in  the  function  of  pouring  a  libation  for  Athena.2  On  red- 
figured  vases  of  the  later  severe  epoch3  it  is  more  usual  to  see  her  with 
long  chiton  and  without  the  endromides,  though  in  such  scenes  she  is 
not  acting  as  messenger. 

15.  London,  Brit.  Mus.  D  27.     H.  ;|  in.     White  Ath.    Pases,  pi. 
xxiii  A. 

On  the  red  shoulder  is  a  row  of  bars,  and  outside  this  four  rude  palmettes  in  black. 
Slip  dirty  yellow.  Above  the  scene  a  simple  maeander,  below  it  bands  of  purple  and 
reserved  red.  Traces  of  a  preliminary  sketch.  Oinochoe  in  solid  black. 

A  woman  moves  rapidly  to  right,  and  looks  back;  in  her  left  hand  she  holds  out  a 
fluted  phiale,  in  her  right  she  holds  behind  her  an  oinochoe.  She  wears  a  sleeve  chiton, 
a  himation  which  is  rather  short  and  is  draped  under  the  right  arm,  and  on  her  head  a 
sakkos  held  by  two  bands.  The  right  breast  is  "durchgezeichnet." 

1  Gerhard,  Aui.  fasen.  Taf.  xlvi.  2  fclitt  c'eramiquc  I,  pi.  Ixxii,  p.  338. 

8  Brit.  Mus.  Cat.  Vases,  III,  E  65,  by  Brygos. 


GROUP  A:  CLASS  III,  I3~i8a  75 

The  figure  of  Iris  on  the  last  vase  is  replaced  by  that  of  a  woman  in 
the  same  attitude;  the  phiale  and  oinochoe  may  still  be  intended  to  sug- 
gest a  religious  action.  The  eye  is  still  rather  archaic,  and  the  tufts 
of  hair  under  the  edges  of  the  cloth  suggest  some  of  the  earlier  mem- 
bers of  the  present  group ;  but  the  folds  of  the  garment  are  quite  free. 
The  upper  part  of  the  face  is  noticeably  short,  and  the  chin  is  small  and 
round.  Some  of  these  details,  as  well  as  the  general  elegance  of  the 
figure,  recall  the  manner  of  Brygos. 

16.  Syracuse,  "Dono  Lentinello."     H.  about  0.25  m. 

Two  rows  of  bars  on  the  red  shoulder.  Slip  yellowish  brown.  Above  the  scene  is  a 
simple  maeander. 

A  woman  hastens  toward  the  right  and  looks  back;  in  her  left  hand  she  holds  out  a 
pitcher,  in  her  right  a  phiale. 

17.  Athens.     Atk.  Mitth.  XVII,  437,  Taf.  i,  no.  5.     H.  0.215  m. 

Two  rows  of  bars  on  the  red  shoulder.  The  slip  is  yellow,  and  above  the  scene  is  a 
simple  maeander. 

A  woman  is  drawn  in  almost  exactly  the  same  attitude  and  clothing  as  on  no.  15, 
except  that  the  hair  is  not  covered.  The  left  hand  is  empty,  and  the  right  holds  a  taenia 
behind  her. 

The  treatment  of  the  sleeve  and  of  the  part  of  the  skirt  which  is 
blown  back  behind  the  foot  by  the  woman's  rapid  motion  show  a 
mannerism  which  appears  on  several  lekythoi  of  Group  B;  the  hima- 
tion,  also,  is  draped  differently  from  the  one  on  the  last  vase.  On  both 
of  these  lekythoi  the  folds  of  the  chiton  about  the  neck  are  somewhat 
clumsily  drawn.  With  the  present  lekythos  was  found  a  red-figured 
lekythos  with  identically  the  same  scene,  except  that  the  taenia  is  lack- 
ing (Atb.  Mitth.  XVII,  Taf.  i,  no.  3).1 

1 8.  Raccolta    raimondiana.     Politi,   Sette    vasi    greco-sicolo-agri- 
gentini,  p.  10,  Tav.  ii. 

"In  bella  attitudine  vedesi  una  Baccante  camminatrice,  coronata  di  ellera,  con  fine 
tunica  a  larghe  e  corte  maniche,  e  con  manto  avvoltolato  alia  sinistra  spalta  e  nel  braccio 
ili-lli)  stesso  lato  con  aperte  mani  mostra  spiegata  una  benda  di  attortigliati  nastri  adorna 
alia  estremita." 

The  plate  shows  that  the  attitude,  as  well  as  the  garments,  of  this 
figure  is  like  that  on  the  preceding  vases,  except  that  the  woman  is 
moving  in  the  opposite  direction. 

i8a.   Palermo  (case  48).     H.  circ.  0.25  m. 

On  the  shoulder  two  rows  of  bars.     Above  the  scene  a  simple  maeander. 
A  woman  en  face  moves  rapidly  toward  the  right  and  looks  back,  holding  out  in  both 
1  Cp.  also  the  red-figured  vase,  Athens,  Nat.  Mus.  1522. 


76  ATHENIAN     WHITE     LEKYTHOI 

hands  a  large  black  taenia.     She  wears  a  Doric  chiton  with  overfold,  ungirded.     Her  hair 
falls  loose  about  her  shoulders,  but  around  her  head  is  a  taenia. 

19.  Cambridge,  Fitz.  Mus.  1423..     H.  7^    in. 

On  the  red  shoulder  bars  and  lotus  buds.  Slip  yellowish.  Above  the  scene  is  a 
simple  maeander.  Thinner  glaze  is  used  for  the  garment  folds,  and  a  thick  red  paint  for 
the  taenia. 

A  woman  moves  rapidly  to  the  right  and  looks  back,  holding  out  a  large  taenia  in  both 
hands.  She  wears  sleeve  chiton  and  himation,  and  her  hair  is  in  a  sakkos. 

The  thick  red,  here  used  for  a  taenia,  is  found  again  on  small  leky- 
thoi  of  Class  VIII;  this  stereotyped  scene,  also,  is  not  unusual  in  Classes 
VII  and  VIII.  There  is  no  doubt  that  the  two  classes  overlap,  and  that 
these  small  lekythoi  continued  to  be  painted  in  black  relief  lines  after 
other  methods  were  used  for  more  careful  specimens. 

20.  Athens,  Nat.  Mus.   1807,  Cv.   1038.       Salamis.       H.  0.25  m. 
Dumont-Chaplain,  II,  51,  no.  9. 

On  the  red  shoulder  are  four  rude  palmettes.  The  slip  is  brownish  yellow.  Above 
the  scene  is  a  simple  maeander;  below  it,  one  reserved  red  line  between  four  applied  purple 
lines.  The  foot  is  a  plain  disk. 

A  woman  hastens  to  right  and  looks  back;  she  holds  up  her  skirt  in  her  left  hand, 
and  extends  her  right  hand  behind  her.  Drawing  rude. 

In  this  profile  the  thick  lips  and  full,  round  chin  which  have  already 
been  mentioned  as  occurring  on  red-figured  vases  of  the  later  severe 
period  are  seen  in  an  exaggerated  form. 

21.  Athens,  Nat.  Mus.     1857,  Cv.    1022.     Salamis.     H.    0.20  m. 
Atb.  Mitth.  XVI,  312. 

In  shape  and  ornamentation  this  vase  is  an  almost  exact  duplicate  of  the  one  just 
described. 

A  warrior  advances  to  right  and  looks  back,  he  wears  petasos  and  chlamys,  carries 
two  spears  in  his  left  hand,  and  extends  his  right  hand  behind  him. 

It  is  instructive  to  compare  this  vase  with  a  lekythos  which  has 
already  been  described.1  That  "Glaukon"  lekythos  has  almost  exactly 
the  same  scene,  and  many  characteristics  of  the  drawing  are  the  same, 
while  there  is  the  greatest  difference  in  the  execution  of  the  drawing. 
In  execution  as  well  as  in  style  this  vase  very  closely  resembles  the  one 
just  described  (no.  20),  and  the  two  are  so  alike  in  their  technique 
that  it  is  reasonable  to  regard  them  as  from  the  same  shop  if  not  from 
the  same  hand.  In  that  case  the  two  would  be  classed  with  the 

1  Athens,  Nat.  Mus.  1828,  cp.  supra,  p.  51,  A  II,  no.  17. 


GROUP  A:  CLASS  III,  19-24  77 

"Glaukon"  lekythos,  as  hastily  drawn   representatives  of   the   same 
period  and  the  same  school  as  that  more  careful  specimen.1 

22.  London,   Brit.    Mus.    D   76.      H.    9    in.      White   Atb.    Pases, 
pi.  xxv  B;  Jour.  Hell.  Stud.  XV,    192,  pi.   vii. 

On  the  red  shoulder  are  two  rows  of  bars.  Slip  brownish  yellow.  Above  the  scene, 
a  simple  maeander  reversed;  below  it,  2  +  3  incised  lines  showing  the  red  of  the  clay. 
The  edge  of  the  foot  spreads  slightly  and  is  black  on  its  lower  half.  A  preliminary  sketch 
was  drawn  with  dull  point  in  the  soft  clay.  Dull  pink  is  used  for  the  taenia,  for  the  folds 
of  the  chiton  below,  and  on  the  kalathos. 

A  woman  turns  to  go  toward  the  right  and  looks  back  at  a  lekythos  held  up  in  her 
right  hand,  while  in  her  left  hand  she  holds  a  basket  with  taenia  and  other  objects  for 
worship  at  the  grave.  She  wears  sleeve  chiton  (the  right  breast  is  drawn  in),  and  himation 
draped  under  the  right  arm.  Her  hair  is  gathered  in  a  knot  at  the  back  of  the  head,  and 
adorned  by  a  narrow  stephane  left  white.  A  kalathos  of  wool  stands  on  the  ground  be- 
hind her.  Before  her  open  lips  is  the  inscription  PATPOKL  XAIPE.  The  long, 
straight  nose  with  inner  line  of  nostril  added,  and  the  chin,  which  is  full  and  round,  though 
rather  small,  recall  the  fine  profiles  of  a  later  date  than  would  be  suggested  by  the  rest  of 
the  drawing.  The  eye,  however,  is  set  well  back  toward  the  ear. 

The  inscription  is  discussed  by  Mr.  A.  S.  Murray  in  the  Journal  of, 
Hellenic  Studies,  and  he  compares  the  proverb  ITaT/ao/cXo?  Tr/so^acri?. 
An  examination  of  the  preliminary  sketch  shows  that  the  artist  started 
with  the  common  type  of  woman  advancing  to  right,  a  schema  which 
determined  the  line  of  the  right  leg  by  the  knee,  but  modified  it  by 
drawing  the  right  foot  en  face;  the  inscription,  also,  is  the  two-line 
phrase  beginning  with  a  name,  as  in  the  case  of  the  rather  common 
KALO*  type,  but  a  thoroughly  individual  tone  is  given  it  by  making  it 
a  phrase  of  farewell.  And  if  Mr.  Murray's  suggestion  be  adopted,  it 
is  unique  also  in  its  generalized  meaning. 

23.  Naples,  Heyd.  2432.     H.  0.20  m.;   Cir.  0.22  m. 

On  the  red  shoulder  are  four  rude  palmettes.  The  slip  is  brownish  yellow.  Above 
the  main  scene  is  a  simple  maeander;  below  it,  a  red  clay  line  between  added  purple  lines. 
On  the  edge  of  the  garment  is  a  line  of  dull  color,  now  grayish,  once  probably  red. 

A  youth  facing  to  the  right  leans  on  a  stick  under  his  left  shoulder  which  supports  his 
garments,  and  holds  out  a  wreath  in  both  hands.2  His  hair  falls  in  curls  to  the  shoulder; 
eye  and  profile  differ  from  those  on  other  vases  of  this  class.  Behind  in  the  field  hang 
strigil,  sponge,  etc. 

24.  Corneto,  316.     (Fig.  27.) 

Two  bands  of  bars  on  the  shoulder.  Above  the  scene  a  careless  maeander;  below  it  a 
reserved  red  line  between  purple  lines.  If  one  may  judge  from  the  photograph,  the  wreath 
and  the  marks  on  the  altar  are  in  dull  color. 

1  Cp.  Athens,  Nat.  Mus.  1306,  1631,  "late  severe"  style. 

2  On  a  vase  discussed  below,  B  IV,  i,  iz,  Brit.  Mus.  D  25,  the  figure  is  in  the  same  attitude. 


ATHENIAN   WHITE    LEKYTHOI 


A  youth  stands  in  full  profile  facing  toward  the  left,  his  left  arm  covered  by  a  large 
himation,  his  right  hand  holding  out  a  wreath.  Before  him  is  a  rude  block  (altar)  with 
splashes  of  blood  on  the  side.  The  hair  is  like  that  on  the  vase  just  considered,  of  a  type 
unusual  on  Attic  vases  of  the  middle  of  the  fifth  century  B.C. 

These  two  lekythoi  found  in  Italy  re- 
semble each  other  both  in  the  scene 
represented,  and  in  the  character  of  the 
drawing.  On  the  latter  of  the  two  not 
only  are  the  hair,  eye,  and  profile  (espe- 
cially the  treatment  of  the  inner  contour 
of  the  nose)  unlike  what  is  found  on 
Attic  vases  of  this  period,  but  the  atti- 
tude and  the  treatment  of  the  folds  of 
the  garment  would  be  very  unusual.  In 
a  word,  while  the  technique  is  the  same 
as  in  the  case  of  other  lekythoi  in  this 
series  (shape,  size,  slip,  decoration),  the 
style  of  the  drawing  is  decidedly  different. 
It  seems  to  me  probable  that  they  are 
imitations  of  the  technique  of  the  present 
series,  either  made  in  Attica  at  a  later 
date  for  the  export  trade,  or  more  prob- 
ably made  in  Italy. 

With  the  exception  of  the  two  vases 
just  examined,  the  present  series  is  quite 
homogeneous.  The  vases  are  all  of  about 
the  same  size,  about  25  cm.  high,  and  the 
shape  approximates  to  that  of  the  later 
white  lekythoi.  The  shoulder  is  deco- 
rated in  one  of  two  ways:  (a)  two  rows 
of  bars,  such  as  are  regularly  found  on 
smaller  white  lekythoi  whether  the  drawing  is  in  black  or  in  outline; 
or  (/>)  four  rude  palmettes  alternating  in  a  series,  a  pattern  that  is 
quite  unusual  elsewhere.  The  slip  is  always  of  the  thin  brownish 
variety.  Above  the  scene  is  a  maeander  usually  simple;  below  it  at 
some  little  distance  the  black  glaze  is  broken  by  rather  a  broad  red 
line  (often  between  purple  lines  on  the  black),  or  else  several  fine  lines 
are  incised  in  the  black  glaze.  The  foot  is  generally  of  the  simplest 
type  with  plain  red  edge.  A  dull  color,  which  doubtless  was  once  red, 
is  used  for  a  garment  border  or  stripe  in  several  instances. 


FIG.  27  (no.  24). 


GROUP  A:  CLASS  III,  series  b  79 

Number  13  I  know  only  by  description.  Numbers  14-22  present 
variations  of  one  theme,  viz.  a  figure  advancing  (with  one  exception 
advancing  to  the  right),  looking  back,  and  extending  the  hands  in  op- 
posite directions.  On  no.  14  it  is  Iris  who  is  drawn  in  this  schema; 
on  no.  22  the  schema  was  modified  after  the  preliminary  sketch  was 
made,  and  a  woman  is  drawn  in  the  act  of  starting  for  the  grave.  The 
history  of  this  type  is  easily  followed.  On  early  reliefs  and  early  black- 
figured  vases  a  person  is  often  seen  standing  en  face,  the  feet  in  profile 
to  right,  and  the  head  in  profile  to  left.1  Hardly  later  the  effort  is  made 
to  draw  the  person  in  motion,  with  arms  extended  in  opposite  directions.2 
The  great  kylix  painters  rather  avoided  this  schema,  though  it  is  found 
occasionally  in  the  work  of  Brygos  and  Hieron.3  The  scene  on  this 
series  of  vases,  then,  is  not  an  abbreviation  of  some  fuller  scene,  but 
it  is  simply  a  familiar  figure  of  black-figured  ware,  which  is  found  in 
various  settings.  It  is  used  independently  by  the  lekythos  painter, 
just  as  it  was  used  in  combination  with  other  figures  by  the  painter  of 
red-figured  ware. 

On  the  two  succeeding  groups  of  outline  lekythoi  (Groups  B  and  C) 
the  same  figure  appears  not  infrequently;  and  one  detail  of  the  figure 
appears  first  in  the  present  group.  On  nos.  15  and  17  an  attempt  is 
made  to  represent  rapid  motion  by  drawing  a  full  round  fold  which  is 
thrown  out  behind  from  the  bottom  of  the  chiton  skirt.  Something  of 
the  sort  is  seen  on  a  vase  by  Brygos,4  but  in  general  the  earlier  painters 
of  red-figured  kylikes  seem  to  have  handled  the  skirt  in  a  more  severe 
and  simple  manner.  The  mannerism  of  this  round  fold  appears 
quite  commonly  on  the  vases  in  Group  B,  and  it  has  not  entirely  dis- 
appeared from  the  fine  lekythoi  of  Group  C.  The  scene  connected 
with  worship  at  the  grave  on  no.  22  recurs  occasionally  in  the  two  or 
three  following  groups,  and  the  likeness  of  the  figure  on  no.  23  to  the 
man  offering  sacrifice  on  a  vase  in  the  following  group  has  already 
been  noted. 

On  the  vases  of  this  series  which  I  have  myself  seen,  the  eye  is  of 
the  later  severe  type  in  which  the  inner  angle  is  slightly  open;  the  pro- 
file shows  a  nearly  straight  nose  and  round  chin;  the  garment  folds 
are  drawn  with  some  freedom,  although  the  curve  of  the  himation  about 
the  neck  occasionally  shows  signs  of  archaism  (cp.  no.  15);  moreover, 
the  way  in  which  the  breast  is  drawn  on  nos.  15  and  22  is  rather 
crude. 

1  E.g.  Leto  on  the  amphora,  Brit.  Mu«.  B  168.  »  E.g.  the  hydria  icene,  &Rtt  cinm.  Ill,  s 

»  Ai  Heraldes  on  a  Munich  pitcher,  Jahn,  609.  «  Hurtwig,  Meisttrtcbaltn,  Taf.  xxxiii,  cp.  xliii. 


8o  ATHENIAN   WHITE   LEKYTHOI 

The  work  on  these  vases  may  be  compared  with  that  on  three  red- 
figured  vases  in  the  British  Museum,  viz.  E  94,  E  350,  and  E  375. 
These  vases  are  all  more  careful  than  the  lekythoi  under  consideration, 
in  particular  the  eye  has  the  dotted  pupil;  but  the  treatment  of  profile, 
attitude,  and  garment  is  much  the  same.  These  vases  have  been  de- 
scribed as  "in  the  style  of  Douris,"  and  the  lekythoi  of  this  series  may 
safely,  I  believe,  be  referred  to  the  same  period  as  the  later  work  of 
Douris.  With  the  exception  of  no.  22,  which  is  unique,  all  these  leky- 
thoi are  "shopwork";  but  nos.  20  and  21,  from  Salamis,  are  far  more 
careless  than  the  others.  The  discovery  of  no.  17  in  the  same  grave 
with  a  red-figured  vase  on  which  the  same  scene  occurs  is  but  one 
more  proof  of  the  fact  that  the  whole  group  of  lekythoi  under  discussion 
(Group  A)  were  produced  in  the  same  workshops  as  the  red-figured 
ware.  That  this  is  said  to  be  a  fourth-century  grave  does  not  seem  to 
me  sufficient  to  prove  that  the  lekythoi  belong  to  so  late  a  date,  when 
the  position  of  this  series  in  the  present  group  and  its  connections  with 
the  two  following  groups  furnish  such  clear  evidence  that  it  should  be 
dated  about  the  middle  of  the  fifth  century. 


C.  Vases  under  .20  m.  in  height;  the  scene  consists  of  but  one 
figure. 

While  the  two  preceding  series,  and  the  series  that  follows,  show 
some  degree  of  homogeneity,  there  remain  a  considerable  number  of 
smaller  vases  which  it  is  convenient  to  class  together,  although  they 
have  little  in  common  except  their  size.  Some  of  these  are  but  care- 
less replicas  of  other  vases  in  the  present  class  (Class  III),  or  in  the 
preceding  classes ;  others  are  connected  rather  with  later  groups  (Groups 
B  and  C)  than  with  the  present  group,  while  a  very  few  are  relatively 
careful  and  original. 

25.  Berlin,  Furtw.  2251.  H.  0.19  m.;  Cir.  0.22  m.  Benndorf, 
Griech.  Sic.  Fas.  Taf.  xxvii,  3. 

The  slip  extends  up  over  neck  and  shoulder;  on  the  shoulder  are  two  bands  of  rays. 
Slip  yellowish  brown.  Below  the  scene  are  four  incised  lines.  The  scene  is  drawn  with 
unusually  thick  paint,  so  that  the  lines  stand  out  in  relief. 

Athena  stands  en  face,  head  to  left,  carrying  a  spear  in  her  right  hand,  and  a  Corin- 
thian helmet  in  her  left  hand.  She  wears  an  Ionic  chiton  with  sleeves,  and  over  this  a 
short  Doric  chiton  which  is  girded  over  an  overfold  from  the  shoulder.  Apparently  there 
was  a  small  aegis  over  this.  At  her  right  a  shield  is  set  up  against  a  pillar,  and  on  her 
left  is  a  low  altar  of  stones  upon  which  is  wood  and  an  ocn^Js. 


GROUP  A:  CLASS  III,  25-26  81 

Unfortunately  this  vase  has  been  much  damaged;  the  feet  and  the 
face  have  almost  entirely  disappeared.  Enough  remains  of  the  gar- 
ment to  show  that  the  folds  are  treated  with  greater  freedom  than  on  the 
"women  advancing"  of  the  preceding  series,  and  the  drawing  as  a 
whole  is  more  careful  than  on  the  lekythoi  that  follow.  Athena  wear- 
ing her  hair  as  other  women  do  and  carrying  her  helmet  in  her  hand  is 
something  unusual.  On  two  vases  of  Group  C  a  woman  brings  a  helmet 
to  a  warrior  who  is  departing  for  battle;  the  scene  before  us  is  rather 
to  be  compared  with  a  terra-cotta  in  the  British  Museum  representing 
Athena  carrying  a  helmet,  which  has  been  thought  to  repeat  the  type 
of  Pheidias's  Lemnian  Athena.  In  any  case  the  figure  of  the  war-god- 
dess presiding  over  the  arts  of  peace  is  a  conception  which  appears  in 
Athenian  art  in  the  second  half  of  the  fifth  century  B.C. 

The  present  scene  may  be  regarded  as  an  abbreviation  of  that  which 
is  preserved  to  us  on  a  later  red-figured  vase1  in  the  British  Museum; 
a  priest  (Herakles)  and  other  persons  (Lichas,  Philoktetes)  are  roasting 
meat  on  spits  over  the  altar  fire,  in  the  presence  of  Athena.  The  god- 
dess wears  two  chitons,  as  on  our  lekythos,  and  over  them  an  aegis; 
the  attitude,  however,  and  in  particular  the  helmet  are  such  as  to  sug- 
gest that  the  painter  has  in  mind  the  Athena  Parthenos  of  Pheidias. 
On  the  lekythos  before  us  Athena  is  not  herself  offering  sacrifice,  as 
was  the  case  on  a  black-figured  lekythos2  already  mentioned;  she  is 
rather  the  goddess  to  whom  the  sacrifice  of  mortals  is  offered.  It  is 
noticeable  that  on  the  red-figured  vase  just  mentioned  the  altar  is 
built  of  rude  stones  just  as  on  the  lekythos,  and  in  each  instance  the 
6cr<f>v<;  is  clearly  indicated  on  the  altar.  This  type  of  altar,  which  is 
not  usual  on  vases,  is  seen  on  vases  representing  the  sacrifice  at  Chryse,8 
and  on  a  vase  4  thought  to  represent  the  sacrifice  of  Herakles  on  Mt. 
Oeta.  That  these  vases  drew  their  inspiration  from  some  painting 
then  well  known  would  seem  probable. 

26.  Dresden,  Albertinum  1028,  Inven.  1825.  Greece.  H.  0.135  m. 
Jahr.  Arch.  Inst.,  1902,  Arch.  Anz.  p.  Il6. 

On  the  shoulder  two  rows  of  bars;  a  simple  maeander  above;  the  publication  of  the 
vase  shows  white  slip  extending  over  almost  the  entire  body  of  the  vase,  and  the  scene 
beginning  near  the  bottom  of  the  body. 

A  naked  youth  (Apollo  ?)  stands  en  face  looking  toward  the  left;  his  left  hand  grasps 
a  tree,  in  his  right  he  holds  out  a  phiale;  a  small  mantle  covers  the  upper  part  of  the  back 
and  falls  in  long  points  in  front  of  each  arm. 

l  Brit.  Mus.  E  494,  Catalogue,  III,  pi.  xvi.  *  Athens,  Nat.  Mus.  1138. 

8  Man.  Inst.  VI- VII,  Tav.  viii ;   Labordc,  I,  pi.  xxiii. 
*  Stephani,  in  Comptet  renJus,  Atlas,  1876,  pi.  T,  I. 

G 


82  ATHENIAN   WHITE   LEKYTHOI 

The  shape  of  this  lekythos  is  entirely  typical,  but  the  method  of 
applying  the  white  slip  for  the  scene  and  the  scene  itself  are  unique. 
The  naked  figure  of  a  youth  either  standing  by  a  tree  or  holding  the 
branch  of  a  tree  in  his  hand  is  commonly  to  be  understood  as  meaning 
Apollo  on  red-figured  ware  of  this  period; 1  and  the  fact  that  he  holds 
out  a  phiale  as  if  pouring  a  libation  is  no  reason  for  thinking  this  figure 
other  than  a  god.2  Probably  the  scene  from  which  this  figure  was  taken 
was  a  scene  in  which  Apollo  played  a  part;  but  the  lekythos  painter, 
in  selecting  the  single  figure,  has  followed  his  general  practice  and  left 
out  all  that  is  specific.  On  the  figures  of  Apollo  ordinarily  a  himation 
is  draped  around  the  lower  part  of  the  body.  This  type  of  small 
mantle,  probably  a  chlamys  not  pinned  at  the  neck,  is  found  occasionally 
on  red-figured  ware  of  the  earlier  part  of  the  century.3  It  may  well  be 
the  case  that  the  painter  here  is  drawing  from  a  scene  that  took  shape 
at  a  period  considerably  earlier  than  this  particular  vase. 

27.  Athens,  Nat.  Mus.  1785,  Cv.  1028.     Athens.     H.  0.16  m. 

Shape  rather  squat,  the  body  growing  larger  below  the  shoulder.  The  shoulder  is 
nearly  flat  and  there  is  no  break  between  neck  and  shoulder;  on  the  shoulder  are  two 
bands  of  rays.  Maeander  above  the  scene  simple.  The  foot  is  a  simple  disk.  Dull 
pink  is  used  on  the  edge  of  the  garment. 

On  a  stool  sits  a  youth  facing  to  the  right.  He  is  completely  wrapped  in  a  himation 
which  covers  even  the  back  of  the  head.  A  purple  taenia  is  about  his  head,  and  the  locks 
in  front  of  his  ears  and  over  the  forehead  are  drawn  with  great  care.  At  the  left  a  purse, 
at  the  right  a  mirror,  hang  in  the  field. 

This  vase  is  drawn  with  considerable  care,  and  is  perhaps  the 
earliest  of  the  present  series.  In  style  and  workmanship  it  closely 
resembles  the  first  two  vases  of  series  a  under  the  present  class  (Athens, 
Nat.  Mus.  1858  and  2023).  The  scene  should  be  compared  with  that 
on  a  red-figured  lekythos  in  Athens  (Nat.  Mus.  1785). 

28.  Burlington  Exhibition,  1888,  Catalogue,  no.  136  (Dr.  H.  Weber). 
Attica.     H.  0.128  m. 

The  description  is  sufficient  to  show  that  the  scene  is  similar  to  that  on  the  vase  just 
described. 

29.  Athens,  Nat.  Mus.  1874,  Cv.  1037  (Coll.  393).     H.  0.16  m. 

On  the  shoulder  two  rows  of  bars;  body  rather  slender.  Above  the  scene  a  maeander, 
below  it  an  incised  line  between  purple  lines  applied  on  the  black.  A  dull  pink  line  is 

1  Apollo  with  the  branch  of  a  tree  in  his  hands,  Naples,  Heyd.  2634,  Monument!,  II,  xvi ;   the  same 
standing  by  a  palm,  St.  Petersburg,  Steph.    1807,  Arch.    Zeit.    1866,   Taf.    21 1 ;    Apollo  standing  by  a  tree, 
as  on  this  lekythos,  Monument!,  IV,  xlviii,  and  Brit.  Mus.  Cat.  fases,  III,  £516,  pi.  xviii. 

2  E.g.  Artemis,  Class  II,  I,  Louvre  CA  599  ;  and  II,  20,  Paris. 

8  On  a.  warrior,  Brit.  Mus.  E  379,  Gerhard,  Aus.  Fasen.  Taf.  cl ;  cp.  the  vase  of  Euphronios, 
Monument!  II,  Tav.  x  ;  Klein,  Eupbronios,  S.  136  ;  also  Class  III,  4**,  New  York,  Metr.  Mus. 


GROUP  A:  CLASS  III,  27-34  83 

drawn  along  the  edge  of  the  garment.     A  woman  wearing  a  sleeve  chiton  and  himation 
advances,  holding  out  a  wreath.     In  the  Held  a  taenia  is  suspended.1 

30.  Dresden,  Albertinum  370.     H.  0.16  m. 

On  the  shoulder  a  row  of  bars  and  lotus  buds.  No  maeander;  below  the  scene  a 
reserved  red  line  between  four  purple  lines.  Thin  glaze  is  used  for  folds  of  the  chiton. 

A  woman  in  profile  moves  toward  the  right,  carrying  a  distaff  in  her  right  hand.  She 
wears  a  sleeve  chiton  and  a  himation. 

31.  Athens,  Private  Collection.     H.  o.ii  m.     (Fig.  28.) 

Mouth  gone;  neck  continuous  with  shoulder,  and  shoulder  ornamented  with  two 
rows  of  bars;  shape  quite  slender.  Slip  thin  brownish;  above  the  scene  is  a  checker- 
board pattern  made  by  large  dots  between  lines;  below  it  a  reserved 
red  line  between  purple  lines.  The  preliminary  sketch  with  dull  point 
in  soft  clay  represents  the  figure  with  wings  down. 

"Nike"  stands,  body  en  face,  feet  to  left  and  head  to  right,  with 
wings  raised  behind  her;  her  left  hand  is  under  her  himation,  and  in 
her  right  she  carries  a  thyrsos.  In  the  field  is  a  branch  with  scrolls. 

The  drawing  is  very  rude,  and  the  vase  is  mainly 
interesting  because  it  illustrates  the  manner  in  which 
different  conceptions  were  confused  by  the  careless  vase 
painter.  The  general  attitude,  the  garments,  and  such 
details  as  the  added  breast  line,  call  to  mind  the 
"women  advancing"  on  series  b  of  the  present  class.  FIG- 28(50.31). 
At  the  period  when  that  series  was  painted,  the  decoration  of  larger 
lekythoi  had  become  in  a  measure  fixed,  but  reminiscences  of  earlier 
styles  continue  to  be  found  in  the  smaller  specimens. 

32.  Athens,  Private  Collection.     H.  to  shoulder,  0.09  m. 

Two  rows  of  bars  on  the  red  shoulder.  Above  the  scene  a  broken  maeander  pattern; 
below  it,  a  reserved  red  line  between  purple  lines.  Very  careless. 

Athena  moves  toward  the  right,  raising  her  right  hand  and  carrying  the  aegis  on  her 
extended  left  arm;  the  gorgoneion  is  very  prominent.  She  wears  a  sleeve  chiton,  and  a 
helmet. 

33.  Coll.  Calefati,  no.  5.     Bull.  Arch.  Napol  I,  1843,  p.  80. 

"  Donna  bacchica.  Lekythos  di  altezza  £  palmo;  figura  a  tratti  nero  in  fondo  bianco 
sporco.  Donna  in  lungo  chitone  di  nero  che  lascia  verso  i  piedi  di  lei  un  lembo  del  colore 
del  fondo.  Le  braccia  ed  il  volto  della  donna  sono  anche  di  bianco.  Ella  e  nelPatto  di 
camminare  a  sinistra;  tien  colla  sinistra  un  tirso  e  col  bracchio  destro  distese  tien  colla 
mano  una  oenochoe.  Innanzi  alia  testa  leggesi  KAAE." 

34.  Oxford,  Ashm.  269  b.     H.  about  0.14  m. 

On  the  red  shoulder  two  rows  of  bars;  above  the  scene  a  simple  maeander;  below  it 
two  purple  lines. 

1  With  the  scene  compare  the  red-figured  lekytho*,  Athero,  Nit.  Mut.  i?34- 


84  ATHENIAN  WHITE   LEKYTHOI 

At  the  left  a  thyrsos  leans  against  the  wall.  At  the  right  a  Bacchante  dances  toward 
the  right.  Her  hands  are  covered  with  her  garment;  over  the  chiton  is  a  leopard  skin.1 

35.  Athens,  Nat.  Mus.  1882,  Cv.  1034.     H.  0.14  m. 

On  the  shoulder  two  rows  of  bars;  slip  brownish.  Below  the  scene  are  four  incised 
lines. 

Eros  flies  toward  the  right,  holding  out  a  bird  in  his  right  hand.  In  the  field  is  a 
branch  with  scroll  (cp.  no.  31). 

36.  Berlin,  Furtw.  2245.     Nola.     H.  o.n  m. 

Low  mouth ;  bars  on  the  shoulder;  maeander  omitted.  Below  the  scene  is  a  reserved 
red  line  between  applied  purple  lines. 

Eros  flies  toward  the  right,  holding  out  a  bird  (dove  ?)  in  each  hand.  The  eye  is 
archaic. 

Of  this  pair  of  vases  with  the  same  scene  one  was  found  in  Greece, 
the  other  at  Nola.  The  subject,  an  Eros  flying,  has  already  been  dis- 
cussed in  connection  with  a  lekythos  of  Class  I.2  These  hasty  and 
careless  vases  may  well  be  later  than  finer  specimens  where  some 
degree  of  originality  is  found.  The  interest  of  this  series  is  due  largely 
to  the  light  it  throws  on  the  methods  of  the  humbler  vase  painter. 

37.  Copenhagen,  Smith  133.     Nola.     H.  4^  in. 

"  Lineartegn.  paa  hv.  Grund.  En  vinget  Nike  liberer  af  en  Phiale  paa  et  Altar,  der  er 
prydet  med  joniske  Voluter,  og  paa  hvilket  der  braendet  en  lid.  Him  baerer  Aermechi- 
ton  og  Himation." 

On  a  red-figured  vase  from  Athens  (Copenhagen,  Smith  134)  the 
same  scene  appears,  and  other  instances  have  been  treated  under 
Class  II.  Judging  from  the  description,  however,  we  note  that  the 
Nike  found  on  earlier  vases  of  Class  II  (nos.  5  and  6)  and  the  more 
realistic  representation  of  an  altar  with  fire  on  vases  slightly  later 
(II,  nos.  9  and  u)  are  here  combined.  Two  vases  of  the  following 
class  (IV,  i,  Brit.  Mus.  D  24  and  25)  should  also  be  compared  with 
the  present  lekythos. 

38.  Louvre.     H.  about  0.20  m. 

Above  the  scene  is  a  simple  maeander;  below  it,  a  reserved  red  line.  The  brownish 
slip  is  shiny,  as  though  covered  with  a  transparent  glaze.  Dull  brown  is  used  for  the 
wreath. 

Nike  flies  toward  the  right,  both  wings  behind  her,  holding  out  a  wreath  in  both  hands. 
She  wears  a  sleeveless  chiton  with  overfold,  ungirded.  Her  hair  is  rolled  in  behind  and 
ornamented  with  a  stephane.  Eye  in  full  profile. 

1  The  Oxford  label  "winged  ear  of  bearded  corn  and  flower"  is  clearly  wrong.      This  scene  occurs  on 
no.  8,  p.  69,  and  is  discussed  under  D,  VII,  a,  3,  Bologna,  Pell.  355. 

2  No.  4,  Athens,  Nat.  Mus.  1809  (p.  26). 


GROUP  A:  CLASS  III,  35-42  85 

38a.    Syracuse,  19706.    Gela.     H.  about  0.22  m. 

On  the  shoulder  a  row  of  bars  and  five  palmettes;  simple  maeander;  below  the  scene 
a  reserved  red  line  between  three  applied  purple  lines. 

Nike  flies  toward  the  right,  holding  out  a  wreath  in  both  hands  above  a  kalathos  on 
the  ground.  She  wears  an  Ionic  chiton  and  a  small  mantle  which  leaves  the  right  arm 
free;  her  hair  falls  free  behind. 

39.  Louvre.     H.  about  0.20  m. 

Technique  as  on  no.  38. 

A  woman  wearing  chiton  and  himation  stands  before  a  rude  stool,  looking  at  herself 
in  a  mirror.  Behind  her  a  taenia  is  festooned  in  the  field. 

39a.    Aachen.     H.  o.um.    Jahr.  Arch. Inst.,  V.    Arch.Anz.  160,  6. 

Between  two  Doric  columns  a  woman,  wearing  chiton  and  himation,  advances  toward 
the  right. 

39b.    Aachen.    H.  0.095  m.    Jahr.  Arch.  Inst.y\.    Arch.  Anz.  160,  7. 

At  the  left  a  Doric  column,  at  the  right  a  woman  is  pouring  a  libation  on  an  altar; 
she  wears  Ionic  chiton  and  himation  (for  the  scene  cp.  Berlin,  Furtw.  2217). 

40.  Athens,  Private  Collection.     H.  about  0.20  m. 

A  woman  stands  facing  to  the  right,  and  pours  from  a  phiale  on  a  rude  block  (altar). 
She  wears  Ionic  chiton,  and  has  a  cloth  about  the  hair. 

41.  Athens,  Private  Collection.     Attica.     H.  0.185  m- 

A  single  glaze  line  takes  the  place  of  the  maeander  above  the  scene.  The  brownish 
slip  is  thicker  than  is  usual  on  vases  of  the  present  group.  The  fluid  is  added  in  a  brown 
glaze  color. 

A  youth  stands  leaning  on  his  stick,  and  pours  from  a  large  phiale.  He  wears  a 
himation  ornamented  with  a  broad,  black  stripe  near  its  lower  edge.  In  the  field  are 
letters  apparently  imitating  rudely  a  kalos  inscription. 

42.  Corinth,  Collection  Rendis.     Dumont-Chaplain,  I,  370,  pi.  xi, 
3;  cp.  Vol.  II,  51,  no.  3.     H.  about  0.16  m. 

A  youth  stands  before  a  low  pillar  holding  out  a  pomegranate  in  his  left  hand.  A  gar- 
ment is  thrown  loosely  over  his  arms,  and  he  holds  a  staff  behind  him  in  his  right  hand. 

The  provenance  of  this  lekythos  is  not  given  by  the  French  scholars 
who  publish  it,  but  there  is  nothing  in  the  drawing  to  forbid  the  sup- 
position that  it  was  found  at  Corinth.  A  considerable  number  of  such 
small  lekythoi,  generally  of  a  later  style,  have  been  found  at  Corinth, 
and  most  of  them  are  probably  of  Corinthian  manufacture.  All  that 
I  have  seen,  however,  are  of  very  poor  workmanship,  a  fact  which 
accounts  for  the  little  attention  that  they  have  received.  That  they 


86  ATHENIAN   WHITE   LEKYTHOI 

were  manufactured   at  Corinth   and    placed    in  Corinthian  graves  is 
probably  due  to  the  influence  of  Athenian  practice. 

43.  Bologna,  Museo  civico,  Pell.  358,  Fig.  54.     Greece.     H.  about 
0.156  m.    (Fig.  29.) 

Two  rows  of  bars  on  shoulder.  Above  the  scene  is  a  double  row  of  dots;  and  in  the 
black  below  it  a  reserved  red  line.  Slip  hard,  brownish  yellow. 

-,  _,  A  youth  stands  facing  the  left,  and  leans  on  a  stick  which  holds  up  the 

fV  U.         garment  under  his  right  arm.     Before   him  is  a  narrow  stele  with   the  word 

i  KE^I^IO^  on  it.     The  treatment  of  the  eye  resembles  that  on  red-figured 

(1)   I         ware  of  the  free  style.     In  the  field  hang  a  strigil  at  the  right,  sponge  and  ala- 

bastron  at  the  left. 

X   '  Common  as  the  grave  stele  becomes  on  later  lekythoi,  the 

r\  £      examples  of  a  grave  stele  with  an  inscription  on  it  are  re- 
^*     markably  few,  and  of  these  few  not  all  are  above  suspicion. 
FIG.  29.    Qn  a  wm'te  lekythos  in  Athens,1  and  on  another  in  Munich  2 
there  is  seen  on  the  stele  an  imitation  of  quite    a  long    inscription. 
The  nearest  parallel  to  the  present  vase,  however,  is  found  in  sev- 
eral red-figured  lekythoi.      The  stele  on  these  vases  bears  the  same 
sort  of  inscription  as  the  stele  on  the  white  lekythos.3 

44.  Copenhagen,  Smith  132  (993).     Athens.     H.  5^  in. 

"Sw.  lineartegn.  paa  hv.  Grunde.  En  Kvinde,  der  baerer  Aermechiton  og  Hima- 
tion  og  om  Haaret  Sphendone,  staaer  stottet  til  en  lang  Stav  eller  Landse." 

45.  Bologna,  Mus.  civ.,  Pell.  357.     Greece.     H.  0.16  m. 

On  the  shoulder  two  rows  of  bars.  Slip  brownish.  Above  the  scene  is  a  simple 
maeander,  and  in  the  black  below  a  reserved  red  line. 

A  woman  stands  en  face  looking  at  a  mirror  in  her  right  hand;  in  her  left  she  holds  up 
an  alabastron  with  cords.  She  wears  sleeve  chiton  and  himation,  and  her  hair  is  in  a 
sakkos.  At  the  left  is  a  basket  containing  wool  and  two  distaffs  (  ?);  at  the  right,  a  chair. 

46.  Leyden,  Jans.  1915.     Greece.     H.  0.155  e^ 

"Zwart  op  geelwit;  enkel  in  omtrek.  Voor  eene  vrouw,  voor  welke  eene  bloempot 
of  derglijke  staat;  zeer  uitgesleten."  * 

47.  Athens,  1829,  Cv.  1637.     Eretria.     H.  0.21  m. 

Above  the  scene  is  a  series  of  curved  lines,  below  it  four  red  lines  reserved  in  the  black. 
Red  is  used  for  the  himation  and  pink  stripes  for  the  chiton.  The  work  is  careful. 

1  Athens,  Nat.  Mus.  1958,  Class  V,  20.  2  Uncatalogued,  Class  V,  10,  Fig.  43. 

8  Bull.  Inst.  1 868,  p.  155  ;  Commentations  In  bonorem  Tb.  Mommseni  (Heydemann),  p.  in  ;  C.I.G., 
7703,  8414,  8415,  8416,  8419,  8420,  8429:  Brit.  Mus.  Cat.  Pases,  F  67,  92  (pi.  iii),  F  331. 

4  The  "bloempot"  is  doubtless  a  kalathos  j  probably  Jans.  1917  and  1918  belong  to  the  same  series, 
but  the  scene  has  disappeared. 


GROUP  A:  CLASS  III,  43-53  87 

A  woman  sits  on  a  stool  facing  the  left,  looking  at  a  mirror  in  her  right  hand.  She 
wears  sleeve  chiton  and  himation.  In  the  field  behind  her  hangs  a  lekythos. 

48.  Athens,  Nat.  Mus.  1879,  Cv.  1036  (Coll.  397).     H.  o.n  m. 

The  slip  covers  the  shoulder,  on  which  are  two  bands  of  rays.  No  maeander.  Below 
the  scene  four  lines  are  incised  in  the  black  glaze. 

A  large  head  faces  toward  the  right.  The  hair  is  in  a  sakkos;  the  inner  angle  of  the 
eye  is  closed,  and  a  dotted  pupil  is  drawn  against  it.  In  the  field  a  branch  with  scrolls. 

The  same  type  of  eye  is  found  on  nos.  I  and  2  of  the  present  class, 
and  the  scroll  in  the  field  occurs  several  times  on  vases  of  Class  II. 

49.  London,  Brit.   Mus.    D  46.     Nola.     H.    4^    in.     Arch.    Zeit. 
1885,  S.    198. 

Both  neck  and  shoulder  are  white;  on  the  shoulder  two  bands  of  rays.  Above  the 
scene  is  a  simple  maeander;  below  it,  five  incised  lines.  Slip  thin,  brownish  yellow. 

A  large  head,  facing  toward  the  left,  between  two  fluted  columns.  The  hair  is  in  a 
sakkos.  Eye  in  profile;  lips  rather  full;  chin  round,  but  not  very  large. 

50.  Wien,  Hofmus.  621.     H.  3f  in. 

The  decoration  and  the  scene  are  almost  exactly  like  that  on  the  preceding  vase;  the 
sakkos  is  put  on  in  such  a  way  as  to  emphasize  the  knot  of  hair  at  the  back  of  the  head. 

51.  London,  Brit  Mus.  D  32.      H.  6J  in.     Arch.  Zeit.   1885,    S. 
197,  and  cp.  1880,  S.  136. 

On  the  shoulder  five  careless  palmettes.  Above  the  scene  is  a  simple  maeander;  be- 
low it,  a  reserved  red  line  between  purple  lines.  Slip  yellow-brown. 

A  large  female  head  facing  toward  the  right,  toward  a  small  chelys.  The  hair  is  in  a 
sakkos.  The  upper  eyelid  and  inner  contour  of  the  nose  are  added,  and  the  chin  is  drawn 
with  considerable  firmness;  the  lips,  however,  are  in  the  style  of  the  "severe"  red-figured 
vases. 

52.  Dresden,  Albert.     H.  about  0.12  m. 

The  yellowish  slip  covers  shoulder  and  neck.  On  the  shoulder  are  two  rows  of  bars; 
above  the  scene,  a  simple  maeander;  below  it,  reserved  red  lines.  Dull  red  is  applied  for 
the  ear-ring. 

A  large  head  facing  toward  the  right.  The  hair  is  in  a  sakkos.  In  front  is  a  spray 
with  scrolls.  The  drawing  is  freer  than  on  the  preceding  specimens. 

53.  Hotel  Lambert,  De  Witte.     Locri.     H.  0.12  m. 

A  large  female  head;   the  hair  is  in  a  sakkos.     Before  it  is  a  Doric  column. 

These  vases  with  a  large  female  head  are  of  course  intimately  con- 
nected with  the  four  vases  having  the  same  scene,  which  belong  under 
Class  II.  The  fluted  columns  of  nos.  49  and  50  appear  on  nos.  21  and 
21  a  of  Class  II;  the  lyre  of  no.  51  on  the  same  vases  of  Class  II;  and 


88  ATHENIAN   WHITE   LEKYTHOI 

the  branch  with  palmette  and  scroll  of  nos.  48  and  52  on  nos.  22  and 
23  of  that  class.  Winter  has  published  no.  22  of  Class  II  and  nos.  49 
and  51  of  the  present  class.1  He  compares  II,  22  with  the  interior  of 
a  red-figured  kylix  now  in  Bonn,  which  closely  resembles  the  later 
work  of  Epiktetos,  and  dates  both  the  kylix  and  this  lekythos  about 
480  B.C.  I  have  no  reason  to  question  this  date  for  the  kylix,  but  with 
reference  to  the  lekythos  (Class  II,  22)  other  considerations  might  lead 
us  to  modify  this  conclusion.  It  belongs  to  a  small  group  which  may 
well  have  come  from  the  same  hand.  Numbers  21  and  22  of  Class  II 
show  exactly  the  same  type  of  drawing,  nos.  22  and  23  are  about  as 
much  alike  as  two  Greek  vases  ever  are,  and  no.  48  of  the  present 
class  shows  some  of  the  same  characteristics.  These  profiles  seem  to 
me  to  resemble  one  type  of  profile  in  the  work  of  Douris  and  Hieron  2 
much  more  closely  than  the  profile  on  the  interior  of  the  Bonn  kylix, 
and  we  should  hardly  go  astray  in  claiming  that  a  decade  or  more 
intervened  between  the  two  vases  which  Winter  compares.  I  have 
already  pointed  out  the  intimate  connection  between  the  small  vases 
just  described,  and  the  larger  ones,  nos.  21-23,  of  Class  II.  Winter3 
assigns  nos.  49  and  51  of  Class  III  (Brit.  Mus.  D  32  and  46)  "wohl 
spatestens  dem  Ende  des  fiinften  Jahrhunderts."  With  reference  to 
such  careless  work  as  that  of  these  small  lekythoi  it  may  seem  useless 
to  hazard  an  opinion,  but  the  profiles  on  them  are  of  much  the  same 
type  as  those  on  the  corresponding  larger  lekythoi  (II,  21-23)  and  only 
the  treatment  of  the  eye  suggests  a  later  date.  The  simple  profile  eye 
of  no.  49  (Brit.  Mus.  D  46)  and  the  eye  with  an  experiment  in  the 
way  of  an  upper  lid  on  no.  51  (Brit.  Mus.  D  32)  need  not  be  much 
(if  any)  later  than  the  middle  of  the  fifth  century  B.C.;  and  in  view 
of  the  many  points  of  similarity  with  the  larger  vases  having  the  same 
scene,  I  am  inclined  to  regard  these  small  lekythoi  as  the  product  of 
the  same  period  as  the  larger  ones,  —  no.  48  perhaps  as  early  as  the 
larger  ones,  nos.  49  and  51,  it  may  be,  somewhat  later. 

The  earlier  history  of  the  female  head  or  bust  on  Attic  vases  has 
been  traced  by  Winter  in  the  article  to  which  reference  has  already 
been  made.  A  white  lekythos  with  figures  in  black,  now  in  Vienna, 
may  properly  be  compared  with  this  series.4  On  it  are  seen  three 
large  heads,  Herakles,  Athena,  and  perhaps  Hebe;  while  two  rudely 
drawn  Nikes  fly  overhead.  The  lekythos  belongs  with  a  series  of  fifth 

1  Arch.  Zeit.  1885,  S.   196-198. 

2  The  fluted  pillar  also  is  a  favorite  object  on  kylikes  of  the  late  severe  period. 
8  Arcb.  Zeit.  1885,  S.  198. 

*  Laborde,  Vases  Lambcrg,  II,  pi.  xxiii,  and  vignette  9  ;   Sacken-Kenner,  S.  155,  12.. 


GROUP  A:  CLASS  III,  series  c  89 

century  black-figured  -  lekythoi  which  were  produced  under  the  in- 
fluence of  the  red-figured  technique.  The  eye  of  Athena,  and  the  nose 
of  Herakles,  the  inner  contour  line  of  which  has  been  added,  recall 
the  outline  lekythoi  with  a  similar  scene. 


In  themselves  these  little  lekythoi  have  scarcely  any  interest.  Only 
one  or  two  show  any  care  in  the  drawing,  and  instead  of  originality 
there  is  a  crude  commingling  of  types  already  familiar.  As  a  series, 
however,  they  throw  some  light  on  the  habits  of  the  poorer  class  of 
potters,  and  they  illustrate  anew  the  persistence  of  stereotyped  ma- 
terial. 

A  few  specimens  are  rather  squat,  but  the  proportions  are  generally 
similar  to  those  of  the  larger  and  finer  lekythoi.  But  the  mouth  is 
low,  not  bell-shaped  or  trumpet-shaped;  neck  and  shoulder  are  not 
separated  by  a  plastic  ridge;  and  the  foot  is  usually  a  simple  disk  (flat 
underneath)  with  red  edge.  Above  the  scene  the  simple  maeander  is 
common,  but  frequently  it  gives  way  to  a  simple  line,  or  to  one  of  the 
ornaments  which  had  been  used  on  earlier  types  of  lekythoi  (checker- 
board pattern,  rows  of  dots,  etc.);  below  it  are  found  incised  lines  in 
the  black,  or  a  reserved  red  line  between  purple  lines;  on  the  shoulder 
the  two  rows  of  bars,  the  degenerate  form  of  the  lotus  bud  ornament, 
almost  always  occur.  In  a  word,  the  peculiarities  of  this  series  consist 
almost  entirely  of  reversions  to  types  which  had  been  discarded  in  the 
case  of  the  larger  lekythoi.  In  the  field  imitation  inscriptions  are 
found  a  few  times;  a  taenia  or  mirror  hangs  on  the  wall  occasionally, 
or  a  branch  with  scroll  is  drawn  in  the  field.  The  latter  is  seen  on 
lekythoi  of  Classes  I  and  II;  the  objects  in  the  field  become  more 
common  in  the  classes  which  follow. 

Of  the  scenes  only  the  first  (no.  25)  has  any  intrinsic  interest;  this 
is  a  careful  and  effective  abbreviation  of  a  definite  red-figured  scene. 
On  nos.  27  and  29  a  meaningless  figure  is  copied  out  of  some  larger 
scene;  l  the  work  is  rather  careful,  but  uninteresting.  The  Eros  fly- 
ing,2 the  Nike  pouring  libation  or  flying  with  wreath,3  the  women 
advancing  and  looking  back,4  are  scenes  which  probably  were  copied 
from  larger  lekythoi  of  this  same  group,  either  by  the  same  artists  or 
by  later  copyists.  So  the  large  head5  on  the  last  numbers  of  the 
series  is  either  a  copy  of  the  same  thing  on  larger  lekythoi,  or  a  later 

1  Cp.  Hartwig,  S.  343,  also  Taf.  xli. 

*  Nos.  35  and  36  ;  cp.  Class  I,  4,  Athens,  Nat.  Mus.  1809. 

8  Nos.  37,  38,  40;  cp.  Class  II,  5-11,  and  Class  IV,  i,  nos.  9-10. 

*  Nos.  19-33  5  CP-  Class  III,  scries  b,  1 5  f.  *  Nos.  48-53 ;  cp.  Claw  II,  it  f. 


9o%  ATHENIAN   WHITE   LEKYTHOI 

adaptation  of  it.  The  grave  scene  on  no.  43  stands  by  itself.  If  the 
inscription  is  genuine,  it  denotes  an  effort  to  be  realistic  of  which  there 
is  rarely  any  trace  on  these  lekythoi.  In  any  case  this  vase  would 
seem  to  be  decidedly  later  than  the  rest  of  the  series;  the  nearest 
parallels  to  it  are  found  in  Group  D.  The  toilet  scenes,1  also,  are 
among  the  later  members  in  the  series.  Toward  the  middle  of  the 

O 

fifth  century  they  begin  to  occur  commonly  on  certain  classes  of  vases, 
of  both  the  red-figured  and  outline  technique;  in  the  case  of  lekythoi 
a  considerable  number  occur  in  Group  B  and  a  few  in  Group  C.  The 
three  in  the  present  series  are  no  doubt  later  than  many  of  the  ex- 
amples in  the  following  group. 

While  the  ornamentation  of  these  small  lekythoi  often  recalls 
earlier  work,  the  drawing  and  the  scenes  represented  show  that  the 
group  is  not  from  any  one  period,  and  that  some  of  the  series  are  of  a 
relatively  late  date.  Evidently  the  drawing  in  black  relief  lines  on 
yellowish  ground  was  not  discarded  entirely  when  the  fine  white  slip 
and  another  kind  of  paint  came  into  use  for  the  larger  and  finer  leky- 
thoi. It  is  in  the  case  of  the  humbler  workman  that  the  inertia  of  his 
style  is  greatest  and  progress  is  made  most  slowly. 


d.    Vases  on  which  the  scene  consists  of  two  figures. 

With  the  exception  of  some  ten  or  twelve  vases,  all  the  lekythoi  of 
Group  A  have  scenes  representing  but  a  single  figure.  The  series  on 
which  two  figures  are  seen  is  in  a  measure  experimental,  and  in  con- 
trast with  the  repetition  in  series  c  it  shows  considerable  originality. 

54.    Louvre,  L  34.     Athens.     H.  about  0.20  m. 

The  mouth  is  low  and  the  body  is  of  the  squat  type.  The  neck  is  red,  but  the  shoulder 
is  white,  and  on  it  is  first  a  row  of  short  bars,  then  a  band  of  lotus  buds  with  dots  between. 
Above  the  scene  are  three  rows  of  dots  between  four  lines  on  a  red  ground;  below  it,  a 
reserved  red  line  between  purple  lines  applied  on  black.  Slip  cream-white,  smooth. 
Solid  black  is  used  for  garments  and  accessories;  coarse  lines  of  thin  glaze  for  the 
anatomy.  Eye  archaic. 

Two  warriors  are  playing  pessoi  on  a  square  block  in  front  of  a  palm  tree.  At  the 
left  an  ephebos  (black  chlamys,  helmet  back)  holds  two  spears  in  his  left  hand  and  extends 
his  right  hand  to  play.  At  the  right  a  bearded  warrior  (helmet  back)  is  in  the  same  posi- 
tion; he  carries  a  shield  on  his  left  arm  as  well  as  spears  in  his  hand.  From  the  back  of 
the  handle  branches  with  five  or  six  palmettes  on  either  side  of  the  scene.  In  the  field  is 
an  imitation  inscription. 

1  Nos.  39,  45,  46. 


GROUP  A:  CLASS  III,  54  91 

Only  three  or  four  lekythoi  with  outline  drawing  preserve  in  some 
detail  the  characteristics  of  small  lekythoi  in  the  finer  black-figured 
technique;  and  of  these  few  perhaps  the  present  specimen  is  the  best. 
In  shape  and  ornament  it  is  uninfluenced  by  the  changes  which  are 
seen  on  late  black-figured  and  early  red-figured  lekythoi.  The  scene 
also  is  a  well-known  black-figured  type.  On  black-figured  amphorae 
and  lekythoi  two  closely  related  scenes  not  infrequently  occur,  viz. 
Achilles  and  Aias  playing  at  pessoi,  and  two  heroes  '  drawing  lots 
before  a  statue  of  Athena.  Both  scenes  include  the  central  block 
toward  which  the  armed  heroes,  seated  or  kneeling,  extend  the  right 
hand,  while  behind  them  their  shields  stand  in  the  field.  The  latter 
of  the  two  scenes  is  found  on  an  ordinary  black-figured  lekythos  of 
much  the  same  style  as  the  present  one,2  and  on  several  lekythoi s 
with  black  figures  on  a  white  ground.  It  was  adapted  for  use  in  a 
frieze  by  the  addition  of  other  figures  on  two  red-figured  kylikes  of  the 
school  of  Epiktetos; 4  and  on  a  kylix  by  Hieron  5  the  two  parts  of  the 
scene,  warriors  casting  lots  and  warriors  in  battle,  are  treated  as  one 
whole;  finally  on  a  later  kylix  8  the  scene  of  casting  lots  before  Athena 
was  developed  in  a  much  freer  manner.  The  black-figured  amphora 
figured  by  Gerhard  7  belongs  in  this  series,  for  Athena  is  present,  but 
the  heroes  seem  to  be  playing  pessoi  instead  of  casting  lots  on  a  base 
before  the  statue. 

The  second  type,  viz.  Achilles  and  Aias  playing  pessoi,  would 
seem  to  be  the  older.  It  is  found  on  several  fine  black-figured  am- 
phorae, of  which  the  best  is  signed  by  Exekias; 8  and  it  regularly  in- 
cludes the  square  block  with  pessoi,  the  seated  heroes  (bearded,  in 
full  armor,  carrying  spears),  and  behind  them  the  shields  standing  up- 
right. The  helmets  are  sometimes  worn  and  sometimes  are  standing 
above  the  shields.  This  scene  also  is  adapted  for  use  as  a  frieze  by 
the  addition  of  other  figures; 9  and  once  it  occurs  on  an  interesting  red- 
figured  kylix  as  one  of  three  distinct  scenes  in  a  frieze.  Except  on  this 
kylix  and  a  kyathos  (Brit.  Mus.  B  466)  the  heroes  are  seated  on  a 
rude  block  or  an  ochladias. 

The  outline  lekythos  in  the  Louvre  differs  from  this  second  type: 

1  Palamedes  and  Protesilaos  (?),  cp.  Euripides,  Ifb.  Aul.  194.5  «o  Brit.    Mm.  Cat.  fatei,  II,  p.  145. 
5  Berlin,  Furtw.  1953,  cp.  Brit.  Mus.  B  541. 

Brit.  Mus.  B  637,  638  ;   Palermo,  Selinunte  room,  case  XXIII. 

Copenhagen,  100;  cp.  Arcb.  Aim.  1891,  S.  101,  no.  10. 

Hartwig,  Meiitcrtcbalen,  S.  176,  Taf.  xxviii. 

Roulez,  Vaiet  de  Leyde.  pi.  ii.  7  Aut.  V»un.  Tif.  119. 

Munich,  Jahn,  567  ;   Brit.  Mus.  B  193,  an  ;   Man.  hit.  I,  xxvi,  a  ;  II,  xxii,  by  Exekias. 

Kylix,  Brit.  Mus.  B  438;  kyathos,  B  466  ;  cf.  Mm.  Greg.  II.  68,  1* ;  Brit.  Mus.  E  10. 


ATHENIAN   WHITE   LEKYTHOI 


(i)  in  the  more  realistic  treatment  of  the  shields,  one  of  which  is 
omitted,  and  the  other  carried  by  the  warrior;  (2)  in  the  fact  that 
one  of  the  warriors  is  a  youth  with  helmet  pushed  back;  and  (3)  in 
the  presence  of  a  palm  behind  the  central  block.  On  a  lekythos  with 
black  figures  on  a  white  ground  in  the  Athena  series  1  the  shields  are 
omitted  entirely,  but  there  is  no  effort  to  differentiate  the  warriors. 
Again  on  an  amphora  in  Berlin  2  there  is  a  similar  tree  behind  the 
central  block,  and  one  of  the  warriors  has  his  helmet  pushed  back. 
Such  a  tree  is  not  unusual,  and  it  usually  serves  a  merely  decorative 
purpose. 

The  comparison  of  our  lekythos  with  this  series  enables  us  to  place 
it  somewhat  accurately  in  the  series,  and  to  define  the  characteristics 
of  its  painter.  Such  a  comparison  shows  (i)  that  it  is  a  black-figured 
scene,  this  type  of  which  is  not  adopted  by  painters  in  the  later  technique. 

It  shows  (2)  that  the  maker  of  this  leky- 
thos changed  the  type  in  minor  details  to 
make  it  less  stiff  and  closer  to  nature. 
While  most  of  the  early  outline  lekythoi 
bear  evident  traces  of  being  made  in 
the  workshops  which  regularly  produced 
the  red-figured  ware,  this  one  might  well 
have  been  drawn  by  a  master  who  was 
accustomed  to  the  earlier  technique. 
All  things  considered,  this  lekythos  can 
hardly  be  later  than  480-470  B.C. 

55.   Munich,   Jahn,  199   (1587).    H. 
0.195  m.;  Cir.  0.234  m.     (Fig.   30.) 


FIG.  30  (no.  55). 


Rather  short  red  neck  and  low  body.  On  the 
shoulder  a  row  of  bars  and  1  +  3  +  1  palmettes, 
with  dots  between  them.  The  maeander  above 
the  scene  is  broken  by  horizontal  crosses.  Below  the  scene  is  a  reserved  red  line  between 
applied  purple  lines.  Slip  hard,  brown,  not  very  smooth.  The  pillar  is  solid  black. 

Two  youths  stand  beside  a  square  pillar  about  as  high  as  their  hips.  The  one  at  the 
left  is  closely  draped  in  a  himation  under  which  his  left  hand  is  raised;  his  hair  falls  over 
his  ears,  and  curls  are  indicated  at  the  edge.  The  one  at  the  right  leans  on  a  knotty  stick 
under  his  left  arm,  which  also  supports  the  loosely  draped  himation.  His  feet  are  crossed 
as  he  leans  on  his  stick,  and  the  body  is  seen  from  behind.  The  right  hand  rests  on  his 
hip,  while  the  left  is  extended,  as  if  in  conversation  with  his  companion.  Straight  locks 
of  hair  are  indicated  at  the  back  of  the  head,  and  there  is  a  little  tuft  in  the  middle  of  the 
forehead.  Over  the  pillar  are  the  letters  KAL. 


Brit.  Mus.  B  638. 


2  Berlin,  Furtw.  1870. 


GROUP  A:  CLASS  III,  55-56  93 

The  square  pillar  is  not  common  on  Greek  vases  nor  is  its  meaning 
certain.  In  this  instance  it  evidently  denotes  some  place  where  young 
men  are  accustomed  to  gather;  it  may  best  be  interpreted  as  the  meta 
or  goal  post  of  a  palaestra.  The  type  of  a  man  leaning  forward  on  a 
staff  is  found  only  on  later  black-figured  vases.1  It  has  occurred  also 
on  outline  lekythoi  of  Class  I  (nos.  I  and  2);  but  in  these  instances 
the  attitude  was  more  simple  in  that  the  body  was  seen  from  in  front 
in  three-quarters  view.  The  old  man  on  a  vase  in  the  earlier  style  of 
Euphronios  2  is  seen  from  behind;  and  both  the  lines  of  the  back  and 
the  folds  of  the  garments  are  in  the  same  style  as  on  the  lekythos  under 
consideration.  On  several  kylikes  still  in  the  severe  style  3  a  similar 
figure  is  found  with  the  right  hand  on  the  hip;  and  the  same  type 
continues  in  the  free  red-figured  style.4  Compared  with  this  series 
the  figure  on  the  lekythos  would  probably  antedate  the  middle  of  the 
fifth  century  B.C.  The  archaic  eye  and  profile  of  a  type  often  found 
on  Hieron's  vases  are  in  line  with  this  conclusion.  The  second  figure, 
a  youth  entirely  wrapped  in  a  himation,  occurs  on  many  vases  of  this 
same  epoch,  and  the  profile  is  much  the  same  as  that  of  the  first  youth. 
On  later  types  of  outline  lekythoi  the  same  figure  occurs  more  than 
once. 

The  connection  between  outline  lekythoi  and  red-figured  kylikes 
has  already  been  mentioned.  The  single  figure  generally  found  on 
lekythoi  of  this  group  corresponds  to  the  single  figure  usually  seen  in 
the  interior  of  earlier  kylikes,  just  as  the  maeander  above  the  scene  on 
lekythoi  follows  the  same  line  of  development  as  the  maeander  around 
the  scenes  on  kylix  interiors.  Even  earlier  than  the  transition  to  two 
figures  in  these  interior  scenes  the  experiment  was  tried  of  putting  two 
figures  on  lekythoi,  and  in  later  groups  this  practice  becomes  the  rule. 

56.   London,  Brit.  Mus.  D  30.    Gela.     H.  ;J  in. 

Shape  and  foot  like  no.  55.  On  the  red  shoulder  are  1  +  3+1  palmettes.  Above  the 
design  an  unbroken  maeander;  below  it  a  reserved  red  line  between  purple  lines.  The 
slip  is  quite  brown. 

At  the  left  stands  a  woman  wearing  chiton  and  himation,  looking  at  a  mirror  which  she 
holds  in  her  left  hand.  Her  hair  falls  unconfined,  except  by  a  fillet,  which  is  left  in  the 
color  of  the  slip. 

Facing  her,  an  ephebos  leans  forward  on  a  staff  which  confines  his  garment  in  place; 
his  right  hand  rests  on  his  hip.  Before  him  is  the  word  KALE. 

»  E.g.  Athens,  Nat.  Mus.  1158.  •  Artb.  Ztit.  1885,  S.  181,  Ttf.  «i. 

1  Brit.  Mus.  E  107,  cp.  85  ;    the  maeander  around  the  interior  icene  is  broken  by  horizontal  crowes, 
as  on  the  lekythos;  cp.  also  a  kylix  by  Micron  in  Munich,  Jahn,  804. 
4  Cp.  Politi,  Due  vati  fittili  agrigentint,  a  bell-shaped  krater. 


94  ATHENIAN  WHITE   LEKYTHOI 

The  figure  on  the  right  corresponds  almost  exactly  to  the  right- 
hand  figure  on  the  Munich  lekythos  described  just  before.  The  woman 
looking  at  herself  in  a  mirror  we  have  met  with  on  nos.  45  and  46 
above,  but  these  scenes  from  the  gynaikeion  are  not  common  outside 
of  Group  B  (Class  IV).  The  hair  is  frequently  treated  in  this  manner 
on  lekythoi  of  Group  B,  and  on  red-figured  ware  of  about  the  middle 
of  the  fifth  century  B.C. 

57.  Oxford,  Ashm.  Mus.  269.     Gela.     H.  0.27  m. 

On  the  shoulder  a  row  of  bars  and  five  palmettes  with  many  leaves.  Above  the  scene 
a  simple  maeander;  below  it  a  reserved  red  line  and  three  applied  purple  lines.  Ap- 
parently there  was  a  preliminary  sketch  in  the  soft  clay.  The  drawing  has  nearly  disap- 
peared. 

At  the  left  a  woman  in  profile  advances  with  extended  right  hand.  She  wears  a  chiton, 
and  a  himation  which  is  so  draped  as  to  cover  most  of  the  right  arm. 

At  the  right  a  youth  leans  forward  on  a  staff  which  supports  the  drapery  under  his  left 
arm;  his  right  hand  is  on  his  hip. 

Between  the  two  is  draped  a  taenia,  and  on  the  ground  is  a  kalathos.  Behind  the 
youth  hang  a  sponge,  bag,  and  strigils  (  ?). 

Mr.  Gardner  in  the  catalogue  of  the  Museum  speaks  of  a  stele 
between  the  two  figures,  but  I  find  no  traces  of  it.  The  figure  at  the 
right  is  almost  exactly  the  same  as  the  figure  at  the  right  on  the  two 
preceding  vases. 

58.  London,  Brit.  Mus.  D  28.     Gela.     H.  7^  in. 

Shape  and  foot  like  no.  55.  On  the  red  shoulder  are  1+3+1  palmettes.  Above  the 
design  the  maeander  is  broken  by  horizontal  crosses;  below,  it  seems  to  have  been 
restored.  Slip  quite  brown.  Drawing  attributed  to  the  "best  period."  The  eye  in 
transition  style,  perhaps  with  dotted  pupil.  The  vase  is  much  damaged. 

At  the  left  a  bearded  man  in  short  chiton,  a  small  cloak  over  his  arms,  wearing  a  cap 
of  fur  provided  with  wings.  He  holds  out  both  his  hands  and  rushes  toward  the  second 
figure. 

Approaching  him  from  the  right  is  a  warrior,  his  helmet  drawn  back,  wearing  a  mantle 
over  his  shoulders.  In  his  left  hand  he  grasps  a  scabbard  which  is  attached  by  the  usual 
belt,  and  presumably  he  held  in  his  right  hand  the  drawn  sword. 

A  warrior  with  helmet  back  and  mantle  over  his  shoulder  is  a 
common  figure  on  vases  of  this  period,  and  the  act  of  drawing  the 
sword  is  not  infrequent.  The  gesture  of  the  figure  at  the  left,  holding 
out  both  hands  as  though  to  get  into  some  connection  with  his  com- 
panion, is  also  common  on  red-figured  vases  of  the  later  severe  epoch. 
The  interest  in  this  vase  centres  in  the  cap  worn  by  the  figure  at  the  left, 
a  cap  furnished  with  wings,  and  apparently  made  of  fur.  Already  on 


GROUP  A:  CLASS  III,  57-58  95 

vases  of  the  black-figured  technique  l  Hermes  is  depicted  with  wings 
on.his  petasos,  while  his  shoes  with  high  flaps  have  no  wings.  On  red- 
figured  vases  even  of  early  period  2  Hermes  has  not  only  the  wings  on 
his  petasos  but  also  small  wings  on  his  shoes;  in  later  art  the  wings  on 
shoes  or  ankles  become  a  rather  frequent  characteristic  of  Hermes. 
The  other  figure  in  Greek  art  who  has  these  wing-appendages  is  Per- 
seus.3 According  to  the  story  4  Perseus  obtained  from  the  Graiai 
winged  sandals,  kibtsis  (wallet),  and  cap  of  Hades.  This  story  is 
literally  illustrated  on  a  black-figured  amphora  in  London.6  More 
commonly  Perseus  has  both  the  wings  on  his  sandals  and  wings  on  his 
cap  like  the  ones  on  the  cap  of  Hermes,6  and  at  least  in  one  instance  the 
cap  has  wings  and  they  are  not  found  on  the  sandals.7  It  seems  per- 
fectly clear  that  the  winged  sandals  are  original  in  the  story  of  Perseus; 
so  far  as  the  wings  on  the  cap  are  concerned,  however,  it  is  quite  pos- 
sible that  they  properly  belong  to  the  messenger  of  the  gods  and  do 
not  belong  to  the  cap  of  Hades  which  Perseus  received  along  with  his 
sandals.  That  the  winged  cap  on  Perseus  monuments  may  not  be 
the  cap  of  Hades  which  rendered  him  invisible,  but  is  rather  an  adjunct 
to  his  winged  sandals,  is  rendered  probable  by  the  fact  that  he  wears 
this  cap  not  only  in  his  conflict  with  the  sea-monster,  and  when  he 
turns  Polydektes  into  stone,  but  even  when  he  receives  the  freed 
Andromeda.8 

On  the  present  lekythos  the  wings  spring  from  the  centre  of  a  cap 
which  seems  to  be  made  of  fur,  not  from  the  petasos  which  Hermes 
usually  wears;  moreover,  it  is  hardly  possible  to  think  of  Hermes 
rushing  toward  a  man  who  seems  ready  to  attack  him.  The  winged 

1  Gerhard,   Aut.    Vasen.   Taf.    ex ;   cp.   the  late  black-figured  lekythos,   Benndorf,    Griecb.    Sic.    fat. 
Taf.  xlii,  4.      On  a  red-figured  kylix  in  Berlin,  Furtw.  2536,  and  an  outline  lekythos  in  Munich,  Jahn,  109, 
he  wears  a  winged  files,  and  similar  high  shoes. 

2  Berlin,   Furtw.    2160;    Munich,  Jahn,  405  ;    Gerhard,   Aut.    Vaten.   Taf.   vii ;    Jour.    Hell.   Stud. 
1901,   pi.   i. 

8  Boreas  also  often  has  wings  on  his  ankles,  e.g.  Gerhard,  Aus.  faun.  Taf.  152,  I. 
*  Apollodorus,  II,  38. 

6  Brit.  Mus.  B  155,  Gerhard,  Aut.  Paten.  Taf.  323. 

8  (a)  Munich,  Jahn,  910,  Gerhard,  Aut.  Paten.  Taf.  89,  4:  a  rudely  drawn  red-figured  rase,  with 
outlines  of  figures  incised.  Perseus  and  Pegasos  springing  from  the  decapitated  Medusa. 

(t)  Annati,  1878,  Tav.  S.  Interior  of  a  free  red-figured  kylix.  Pcrscu«,  with  head  of  Medusa 
in  left  hand,  combats  sea-monster. 

(e)  Annali,  1 88 1,  Tav.  F.  Red-figured  krater,  white  added.  Perseus  turns  Polydektes  into  stone 
with  the  Gorgon's  head  in  the  presence  of  Athena. 

7  Berlin,  Furtw.  2377.      Red-figured  hydria,  "  Der  Stil  noch  etwas  gebunden."      Athena  encouraging 
Perseus,  who  holds  the  head  of  Medusa  in  his  left  hand. 

8  Relief  in  the  Capitoline  Museum,  Stoll,    Cotter   und   Herotii,  II.  41.      Hades,  bowertr,  is   called' 
vrtpwrbt  by   Euripides,  Ale.    260. 


96 


ATHENIAN   WHITE    LEKYTHOI 


cap,  then,  would  indicate  Perseus,  though  the  figure  is  not  invisible,  so 
that  the  cap  can  hardly  be  the  cap  of  Hades  which  properly  belongs 
in  the  Perseus  story.  The  other  attributes  of  Perseus  are  lacking,  in 
particular  the  Gorgon's  head,  or  one  might  be  tempted  to  regard  the 
scene  as  representing  Perseus  in  the  act  of  turning  Polydektes  into  stone. 

The  four  leky- 
thoi  which  have 
just  been  consid- 
ered are  alike  in 
size,  shape,  and 
decoration;  and 
none  of  the  others 
in  the  present  se- 
ries shows  these 
same  character- 
istics. The  style 
of  drawing  also  is 
much  the  same  on 
these  four  vases; 
in  particular  they 
do  not  show  the 
use  of  solid  black 
or  of  lines  in  some 
dull  color  which 
is  found  on  many 
other  vases  of  the 
series.  All  three 
of  them  were 
found  in  Italy, 
but  the  work  is 
distinctly  Athe- 
nian. Probably 
they  were  made 

together    for    the 
FIG.  31  (no.  59).  , 

export  trade. 
59.   Athens,  Private  Collection.     H.  0.173;   Cir.  o.i66m.    (Fig.  31.) 

Shape  rather  squat,  foot  simple.  On  the  shoulder  bars  and  imitation  lotus  buds. 
Slip  rather  thin,  light  brown.  Above  the  scene  are  two  rows  of  dots  connected  by  oblique 
lines;  below  it,  a  reserved  red  line.  The  taeniae  and  one  garment  are  solid  black. 

Two  women  stand  lamenting  by  a  large  round  tumulus  on  a  low  base.    Black  taeniae 


GROUP  A:  CLASS  III,  59-60  97 

hang  above  and  on  the  tumulus;  the  base  is  ornamented  with  circles.  The  woman  at 
the  left  wears  a  black  sleeve  chiton,  and  she  is  arranging  a  taenia  on  the  tumulus.  Her 
companion  on  the  right  wears  a  scant  sleeve  chiton  drawn  in  outline  with  stiff  perpen- 
dicular folds;  her  hair  is  down,  and  in  her  mourning  she  is  pulling  it  with  both  hands. 

This  vase  is  drawn  with  considerable  care  for  one  so  small,  but 
this  fact  only  emphasizes  the  severe  manner  of  the  painter.  The 
figures  stand  stiffly  on  both  feet;  the  effort  to  draw  both  arms  on  the 
right-hand  figure  leads  to  an  imperfect  profile  view;  and  the  garment 
folds  are  of  the  early  type.  The  relatively  early  date  which  must  be 
assigned  to  the  vase  only  makes  it  the  more  interesting.  It  is  one  of 
the  earliest  representations  on  lekythoi  of  that  scene  which  afterwards 
becomes  most  common,  the  mourning  at  the  grave.  And  while  such 
scenes  become  stereotyped  very  soon  and  the  vase  painter  only  repro- 
duces the  work  of  his  predecessors,  the  present  vase  is  quite  unaffected 
by  any  such  tradition.  The  painter  draws  what  he  has  seen,  women 
at  the  grave  tearing  their  hair  in  grief  or  decorating  the  tumulus  with 
offerings.  In  later  conventional  scenes  the  black  garment  of  mourn- 
ing is  replaced  by  garments  white  or  colored;  the  artist  here  feels  at 
liberty  to  paint  one  of  the  figures  in  black.  Such  being  the  literalness 
of  the  figures,  it  is  fair  to  assume  that  the  tumulus  also  is  represented 
with  a  fair  degree  of  accuracy. 

The  circles  on  the  base  of  the  tumulus  are  seen  on  several  lekythoi 
of  slightly  later  date  in  the  National  Museum  at  Athens.1  Here  they 
are  interpreted  by  Mr.  Bosanquet 2  as  holes  for  objects  set  up  around 
the  tumulus  proper,  on  the  supposition  that  the  artist  drew  on  the 
perpendicular  face  what  he  saw  on  the  horizontal  face  but  could  not 
draw  there.  The  occurrence  of  the  dotted  circles  on  the  present  vase 
can  be  better  explained,  I  think,  as  abbreviated  rosettes  ornamenting 
the  perpendicular  surface  of  the  base.  The  literalness  of  the  rest  of 
the  scene  would  rather  be  in  favor  of  some  such  explanation. 

60.  London,  Brit.  Mus.  B  633.  Rhodes.  H.  8£  in.  Froehner, 
Deux  peintures  de  vases  grecs,  pi.  i;  Roscher,  Lex  ikon,  I,  1 1 68  f. 

Neck  red;  on  the  shoulder  two  rows  of  bars.  The  slip  is  cream-colored.  Above 
the  scene  is  a  simple  maeander;  below  it  are  2  +  4  reserved  red  lines  breaking  the  black 
glaze.  The  horses  are  in  solid  black,  with  details  incised,  and  bright  red  is  used  for 
cushions  and  garments.  Figures  and  couch  are  drawn  with  some  freedom  in  fine  relief 
lines  of  black  glaze.  There  are  traces  of  a  preliminary  sketch. 

The  two  Dioskouroi  are  in  the  air  riding  toward  the  right  above  a  couch.  The 
couch  is  supported  by  legs  with  Ionic  capitals,  and  both  legs  and  couch  are  richly  orna- 

1  Athens,  Nat.  Mus.  1935,  1958,  1960,  Class  V,  aa,  ao,  54.  *Jw-  Htll.  Stint.  1899,  p.  1-1. 

ii 


98 


ATHENIAN   WHITE    LEKYTHOI 


mented  with  inlaid  palmettes,  rosettes,  and  small  animals.  On  it  are  three  covers,  one 
of  which  is  red,  and  at  either  end  a  red  cushion;  on  the  right  cushion  is  laid  a  large  fan. 
The  Dioskouroi  are  beardless  youths  with  no  garment  except  the  red  chlamys  which  floats 

behind.      Under  the  couch  is  the  inscription  |wi|VA     (KaA^  Mw'a?). 

Mr.  H.  B.  Walters  states  1  that  the  technique  of  this  vase  is  such  as 
to  suggest  that  it  was  made  in  Naukratis.  The  peculiarities  of  the 
vase  can  all  be  paralleled  on  vases  which  probably  were  made  in 
Athens;  these  Athenian  vases,  however,  would  seem  to  be  of  earlier 
date  than  the  one  under  consideration  and  most  of  them  are  of  less 
careful  workmanship.  The  figures  on  this  vase  are  drawn  with  vigor 
and  freedom;  the  couch  shows  much  attention  to  detail;  and  the  in- 
scription has  an  Ionic  lambda.  Other  vases  from  Athens  on  which 
are  animals  in  black  with  details  incised,2  or  figures  in  outline  with 
accessories  in  solid  black,  must  be  placed  well  back  in  the  first  half  of 
the  fifth  century  B.C.  The  use  of  a  red  like  the  red  on  this  vase  belongs 
to  the  middle  of  the  fifth  century  at  Athens,  and  is  not  found  on  the 
vases  mentioned  in  the  last  sentence.  In  a  word  the  vase  does  not 
find  a  natural  place  in  the  Athenian  series,  though  the  details  of  tech- 
nique can  be  matched  on  vases  made  at  Athens. 

61.  Athens,  Nat.  Mus.  1984,  Cv.  1064.  Eretria.  H.  0.31  m. 
AeXrtov,  1889,  227,  no.  2;  Festschrift  fur  0.  Benndorf,  S.  94. 

Shape  slender,  retreating  slightly  from  the  shoulder  down.  Neck  and  shoulder  red; 
on  the  shoulder  are  rude  palmettes  in  black.  Slip  dull  brown,  thin  and  smooth.  Above 
and  below  the  scene  is  a  simple  maeander;  below  the  lower  one  are  reserved  red  lines 
between  lines  of -applied  purple.  On  the  border  of  each  himation  is  a  line  in  a  pink 
wash  color.  Preliminary  sketch  drawn  with  a  dull  point  in  the  soft  clay. 

Two  women  stand  facing  each  other;  the  one  at  the  left  holds  up  an  outline  taenia  in 
both  hands.  Each  wears  chiton  and  himation;  the  hair  is  in  a  roll  at  the  back  of  the  head, 
and  there  is  also  a  small  knot  in  front  over  the  forehead.  In  the  field  between  them  is  the 
word  KALE,  and  above  it  hangs  an  alabastron. 

In  general  style  of  drawing  this  vase  resembles  the  vases  of  Class  B 
(dating  from  the  middle  of  the  fifth  century  B.C.),  rather  than  the 
earlier  vases  of  the  present  class.  The  taenia  is  of  the  type  which  was 
used  in  worship  at  the  grave  (cp.  no.  59  supra),  and  no  doubt  the 
scene  should  be  interpreted  as  having  reference  to  such  worship.  The 
contrast,  however,  between  the  treatment  of  the  subject  on  this  vase 
and  on  no.  59  above  is  very  striking.  There  the  artist  draws  the  mourn- 
ing at  the  grave  literally  as  he  saw  it;  here  it  is  barely  suggested  by 
the  presence  of  the  taenia.  This  treatment  of  a  subject  by  suggestion 

1  Brit.  Mus.  Cat.  Pases,  II,  *88.  2  Class  III,  nos.  3  and  4;  Class  I,  no.  7. 


GROUP  A:  CLASS  III,  6~63  99 

is  rather  characteristic  of  the  red-figured  ware  at  the  end  of  the  "severe" 
period  and  the  beginning  of  the  "fine"  period. 

62.  Athens,    Nat.    Mus.    1978,   Cv.    1062.      Eretria.      H.  0.31    m. 
AeXrtof,  1889,  213,  no.  2. 

In  shape,  decoration  of  the  shoulder,  slip,  maeander  strips,  and  lines  below  the  main 
scene,  this  lekythos  is  like  the  last.  Here  also  a  pink  wash  is  used  on  the  border  of  the 
garment,  and  there  are  evident  traces  of  the  preliminary  sketch  with  a  dull  point  in  the 
soft  clay.  The  lines  of  the  garment  are  even  finer  than  is  usual  in  this  class.  The  beard 
and  the  hair  at  the  back  of  the  head  are  drawn  in  separate  careful  curls  as  on  some 
lekythoi  of  Class  V. 

A  bearded  man  with  large  wings  runs  after  a  retreating  woman  and  holds  out  both 
hands  to  catch  her.  He  wears  a  short  chiton  girded  at  the  waist.  She  is  looking  back  at 
her  pursuer;  her  hair  is  bound  up  behind  by  a  cord  wound  around  it  several  times,  and 
she  wears  a  long  sleeve  chiton  and  a  rather  short  himation. 

The  pursuit  of  Oreithyia  by  Boreas  is  a  rather  frequent  subject  on 
larger  red-figured  vases  of  "fine"  period.  On  several  vases  with  rather 
severe  drawing  l  the  scene  appears  in  much  the  same  type  as  on  this 
lekythos  except  that  there  are  one  or  more  additional  figures;  and 
where  there  are  but  two  figures,  one  occurs  on  one  side,  the  other  on 
the  other,  on  vases  with  drawing  of  the  "fine"  style.2  Later  still 
Boreas  holds  Oreithyia  in  his  arms,3  or  carries  her  off  in  a  chariot. 

A  comparison  of  the  lekythos  with  this  series  shows  at  a  glance  that 
it  is  coincident  with  red-figured  vases  of  the  later  "severe"  period,  and 
that  the  scene  has  been  abbreviated  to  two  figures  in  order  to  bring  it 
into  accord  with  lekythoi  of  the  same  technique  as  the  present  speci- 
men. 

63.  Athens,    Nat.    Mus.    1988,    Cv.    1063.     Eretria.     H.    0.31    m. 

1889,  229,  no.  22. 


In  shape,  decoration  of  the  shoulder,  slip,  maeander  strips,  and  lines  below  the  lower 
maeander  this  lekythos  is  like  the  last  two.  Here  also  there  is  a  pink  wash  on  the  border 
of  one  of  the  himatia,  and  there  is  a  light  preliminary  sketch  with  a  dull  point.  As  on 
the  last  specimen,  the  hair  falls  in  carefully  drawn  curls. 

Two  youths  stand  facing  each  other,  and  hold  out  taeniae  (one  is  solid  black,  the  other 
drawn  in  outline).  Each  wears  a  himation;  the  one  at  the  left  leans  on  a  stick,  and  his 
garment  has  the  pink  stripe  on  the  edge. 

The  last  three  specimens  resemble  each  other  so  closely  in  their 
technique  that  they  unquestionably  belong  together,  and  probably  are 
from  the  same  hand.  The  combination  of  a  rather  crude  shape  and 

'  Stamnos,  Atinali,  1860,  Tav.  LM,  hydri*,  Mon.  /«/.  IX,  Tav.  xvii  ;  krater,  Gerhard,  Am.    fair*. 
Taf.  clii  ;  Atheiw,  Nat.  Mm.  1638. 

8  Pelike,  Arcb.  Zeit.  1845,  Taf.  xxxi,  I,  1.  »  E.g.  amphora,  N»m>.  Ammtltt,  1839,  pi.  H. 


ioo  ATHENIAN   WHITE   LEKYTHOI 

somewhat  free  drawing  on  a  lekythos  of  full  size  emphasizes  the  sepa- 
rateness  of  this  set  of  three  vases,  and  the  question  might  naturally 
arise  whether  they  are  manufactured  in  Athens  or  at  some  local  shop 
on  the  island  of  Euboea.  When  later  scenes  and  rather  free  drawing 
are  combined  with  such  crudity  as  is  evident  both  in  the  drawing  and 
in  the  shape  of  these  vases,  and  when,  too,  the  use  of  color  is  in  a 
manner  which  never  became  general,  it  is  difficult  to  avoid  the  con- 
clusion that  the  potter  was  not  fully  in  touch  with  his  fellow -craftsmen 
of  the  Kerameikos. 

Turning  from  the  consideration  of  individual  vases  to  the  series  as 
a  whole,  one  is  impressed  first  of  all  with  the  lack  of  unity  in  the  series. 
Some  of  the  specimens  approach  the  shape  of  the  earlier  squat  type; 
others  suggest  the  tall  cylindrical  type;  others  still  have  nearly  the 
shape  which  finally  superseded  both  of  these.  It  must  be  regarded 
rather  as  an  accident  that  most  of  them  have  the  same  type  of  foot. 
Both  types  of  slip,  one  smooth  and  creamy,  the  other  thin  and  quite 
brown,  are  represented;  and  the  ornamentation  of  the  shoulder  and 
of  the  body  above  and  below  the  main  scene  does  not  follow  any  one 
type.  On  the  contrary,  there  are  well-defined  sets  within  the  series. 
The  last  three  specimens  form  one  such  set;  numbers  55-57  form  an- 
other distinct  set;  and  there  are  marked  points  of  likeness  between 
the  other  three.  Solid  black  is  used  for  some  accessory  on  several  of 
the  first  six  vases,  but  the  artists  of  these  lekythoi  always  felt  at  liberty 
to  use  solid  black  in  this  manner. 

As  for  the  drawing  on  these  vases,  while  it  never  shows  special 
excellence,  it  does  not  show  the  mark  of  haste  which  denotes  the  manu- 
facture of  vases  in  large  numbers  for  a  cheap  market.  It  is  not  routine 
work,  but  it  is  not  the  work  of  men  with  any  skill.  The  erect,  square 
attitude  which  recurs  most  frequently  is  particularly  wooden,  even 
when  the  artist  seems  to  be  working  from  life,  and  the  figures  which 
show  more  skill  (e.g.  on  no.  55)  are  copies  of  what  has  become  con- 
ventional. It  is  noticeable  that  the  profile  with  full  lips  and  large 
round  chin,  which  was  so  common  on  vases  of  this  class  which  have 
already  been  discussed,  is  not  found  on  lekythoi  of  the  present  series. 
The  presence  of  an  inscription,  or  of  some  object  like  an  alabastron 
in  the  field,  is  more  common  than  in  the  case  of  the  vases  discussed 
before. 

The  scenes  which  are  depicted  on  these  nine  vases  include  some  of 
particular  interest.  The  two  warriors  playing  pessoi  is  a  scene  char- 


GROUP  A:  CLASS  III,  64-65  101 

acteristic  of  black-figured  ware,  and  it  is  treated  in  the  same  manner 
as  on  this  ware.  The  bearded  man  pursuing  a  woman  and  the  two 
youths  in  the  palaestra  are  just  as  clearly  scenes  from  red-figured 
ware.  Several  of  the  grave  scenes  are  quite  as  conventional  as  those 
on  vases  of  Group  B,  but  one  of  them  (no.  59)  is  purely  a  scene  from 
life.  The  scene  representing  the  Dioskouroi  is  quite  unique  so  far  as 
vase-painting  is  concerned. 

The  present  series,  then,  is  one  which  lacks  historical  unity.  The 
common  characteristic  of  two  figures  instead  of  one  represents  an 
experiment  which  was  tried  undoubtedly  at  different  times  and  under 
different  circumstances.  The  vases  which  it  brings  together,  however, 
are  not  entirely  without  connection;  rather,  they  form  two  or  three 
sets  of  vases,  each  one  of  which  possesses  a  real  unity.  And  there  is 
a  certain  bond  of  likeness  which  runs  through  them  all,  for  the  principles 
which  led  to  the  experiment  were  the  same  in  each  instance;  it  was  an 
effort  to  introduce  a  more  comprehensive  scene  on  white  lekythoi  with- 
out going  too  far  beyond  the  bounds  of  convention,  which  led  to  these 
experiments,  and  the  later  classes  of  lekythoi  show  that  at  length  the 
experiment  won  popular  favor  and  became  in  turn  the  conventional 
type  for  white  lekythoi  with  outline  drawing. 


e.      Vases  on  which  thin  yellow  glaze  is  used  for  garment  folds. 

On  several  of  the  larger  and  more  careful  vases  of  Class  II  a  thin 
yellow  glaze  is  used  for  the  garment  folds;  the  same  characteristic 
serves  to  distinguish  one  series  of  the  smaller  lekythoi  with  red  neck 
in  Class  III. 

64.  Athens,  Nat.  Mus.  2033,  Cv.  1069.     H.  0.16  m. 

On  the  shoulder  five  rude  palmettes  (arranged  as  the  four  palmettes  on  the  shoulder 
of  nos.  20  and  21,  Athens,  1807  and  1857,  from  Salamis).  Above  the  scene  is  a  simple 
maeander;  below  it  are  two  red  lines.  Foot  with  black  torus  and  red  band  above.  The 
drawing  is  rude  and  poorly  preserved. 

A  woman  stands  by  an  altar  and  looks  away.  She  wears  a  himation  over  the  chiton; 
the  folds  of  the  latter  are  in  thin  glaze. 

65.  Athens,  Nat.  Mus.  1806,  Cv.  1021.     Vicinity  of  Athens.     H. 
0.165  m-     Klein,  Lieblingsinschriften,  S.  156,  12. 

Foot  a  simple  flat  disk;  mouth  low.  On  the  shoulder  are  five  rude  palmettes  ar- 
ranged as  on  the  last  specimen.  Maeander  simple.  Below  the  scene  are  three  black  lines 
on  the  red  of  the  clay.  The  folds  on  the  upper  part  of  the  chiton  are  of  thin  glaze;  below, 
the  lines  are  black  and  fine.  Eye  en  fact  with  large  black  pupil  in  the  inner  corner. 


102  ATHENIAN   WHITE   LEKYTHOI 

Nike  with  both  wings  raised  behind  advances  to  right.  Over  the  chiton  she  wears  a 
narrow  scarf  which  is  drawn  under  the  wings  behind  and  comes  over  both  arms.  Before 

...         ...       ^VAVKON 

her  race  is  the  inscription    .,..  ~<         .     rier  hands  are  held  up  before  her  as  though 

she  were  carrying  a  taenia. 

On  a  red-figured  vase  at  Athens  (Nat.  M us.  1496)  this  same  inscrip- 
tion occurs  in  the  same  style  of  lettering;  in  this  instance  the  maeander 
above  is  broken  by  horizontal  crosses,  and  the  scene  is  from  domestic 
life,  —  one  woman  brings  a  box  to  another  woman  who  is  seated  and 
holds  a  wreath.  Another  of  these  Glaukon  lekythoi  has  already  been 
discussed  under  Class  II  (no.  17,  Athens,  1828);  in  that  case  the  in- 
scription is  written  stoichedon,  while  on  the  present  vase  that  same  care 
is  not  observed.  That  vase,  then,  would  be  one  of  the  earlier  members 
of  the  Glaukon  series,  and  would  fall  perhaps  near  the  middle  of  the 
period  in  which  lekythoi  of  Class  II  were  made.  The  wings  are  less 
crudely  drawn  than  on  earlier  vases  of  Class  II,  and  the  folds  of  the 
skirt  follow,  though  still  somewhat  crudely,  the  general  lines  of  its  fall. 
Probably  the  present  vase  is  from  about  the  same  period,  and  it  is 
not  uninteresting  to  compare  a  careless  and  a  relatively  careful  speci- 
men which  were  made  about  the  same  time. 

66.  London,  Brit.  Mus.  D  29.  H.  6j|  in.  Brit.  Mus.  Cat.  Vases, 
III,  pi.  xxiv. 

Neck  restored;  the  body  is  rather  thick-set  but  with  graceful  lines;  foot  a  simple 
red  disk.  On  the  red  shoulder  is  a  row  of  short  bars  and  four  unsymmetrical  palmettes. 
Above  the  scene  is  a  simple  maeander;  below  it  red,  purple,  and  white  lines;  the  slip  is 
hard  and  a  dull  brown  in  color.  The  upper  folds  of  the  chiton  are  in  thin  yellow  glaze. 
Preliminary  sketch  with  dull  point  in  the  soft  clay.  The  eye  is  en  face  with  pupil  near  the 
inner  angle. 

A  woman  facing  to  the  right  bends  over  a  large  loutron  in  which  she  is  washing. 
She  wears  a  sleeve  chiton  with  deep  fold  hanging  over  the  girdle,  and  her  hair  is  enclosed 
in  a  sakkos.  On  the  bowl  of  the  loutron  is  inscribed  KOMA^;  in  the  field  are  imita- 
tion letters  and  the  word  KAAOs. 

This  scene  occurs  on  quite  a  number  of  vases  beginning  with  the 
work  of  Epiktetos,  and  continuing  through  the  fine  period  of  red- 
figured  work.1  On  some  of  the  specimens  by  Douris  the  shape  of  the 
loutron  is  quite  different  from  the  one  on  this  lekythos,  but  in  the 
interior  of  a  kylix  in  London  (Brit.  Mus.  E  90)  and  on  a  kylix  published 
by  Gerhard,2  much  the  same  type  of  loutron  is  seen.  The  latter  kylix 

1  Hartwig,  Afeisterscba/en,   599,   A.   I.      Several  of  the  specimens  have  been  renumbered  in  the  new 
Brit.  Mus.  Cat.  fasts,  III,  viz.  :   Hartwig  (9)  E  90;    (18)  E  201  ;    (20)  D  29  ;    (21)  E  653. 

2  Gerhard,  Aut.  Vascn.  Taf.  296. 


GROUP  A:  CLASS  III,  66-68  103 

shows  the  full  scene  of  women  washing,  from  which  the  significant 
figure  appears  on  the  present  lekythos.  Though  not  especially  suc- 
cessful, the  woman  is  drawn  with  considerable  care,  as  is  shown  by 
the  preliminary  sketch,  and  by  the  presence  of  such  details  as  the 
added  inner  contour  line  of  the  nose.  The  profile  is  of  a  type  which  is 
quite  characteristic  of  the  earlier  specimens  of  Group  B,  in  which 
group  domestic  scenes  are  more  common  than  in  any  other  group  of 
lekythoi.  This  lekythos,  then,  may  fairly  be  regarded  as  a  transi- 
tional specimen,  though  the  technique  is  in  every  detail  that  of  Group  A. 

67.  Naples,  2429  (Heyd.  2440).     Ruvo.     H.  0.20  m. 

On  the  red  shoulder  are  four  rude  palmettes.  Above  the  scene  is  a  simple  maeander; 
below  it  a  clay-red  line  between  three  applied  lines.  The  slip  is  yellow  brown. 

Nike  with  wings  raised  behind  her  stands  facing  the  right,  holding  out  the  string  of 
a  wreath  in  both  hands.  She  wears  the  usual  sleeve  chiton  with  thin  glaze  lines  for  the 
folds,  and  over  it  a  himation  with  a  few  black  folds.  Her  hair  is  in  a  cloth,  and  she  wears 
ear-rings. 

Though  not  so  carefully  drawn,  this  figure  bears  a  considerable 
resemblance  to  the  Nike  before  an  altar  on  a  lekythos  in  the  British 
Museum  (D  24).  This  general  scene  is  very  common,  so  that  the 
resemblance  would  hardly  be  worth  noticing  except  that  the  profile 
of  the  goddess  on  the  two  vases  is  strikingly  similar.  The  technique 
of  the  one  vase  places  it  distinctly  in  Group  B  (i,  11),  as  that  of  the 
other  places  it  in  the  present  series.  Perhaps  the  similarities  in  draw- 
ing which  I  have  pointed  out  in  speaking  of  this  lekythos  and  of  the 
one  which  just  precedes  justify  the  conclusion  that  the  same  influences 
which  led  to  the  development  of  the  new  technique  in  the  following 
group,  the  desire  for  variety  and  the  desire  to  make  the  scene  more 
graphic,  led  earlier  painters  to  experiment  with  close  parallel  lines  of 
thin  glaze  to  represent  a  particular  type  of  garment  folds. 

68.  London,  Brit.  Mus.  D  42.     H.  7  in. 

On  the  shoulder  two  rows  of  bars.  Above  the  scene  the  simple  maeander  is  drawn 
on  the  red  of  the  clay;  and  below  it  there  are  four  black  lines  on  the  red  as  in  the  case 
of  no.  65  (Athens,  Nat.  Mus.  1806).  Slip  dull  brown.  The  foot  is  of  the  type  which  later 
became  typical.  Traces  of  a  preliminary  sketch  with  dull  point.  The  glaze  of  the  out- 
line is  thinner  than  in  some  of  the  earlier  specimens.  The  flame  of  torch  and  altar  is 
given  in  a  thin  brown  glaze.  Eye  of  the  early  type,  en  face. 

A  woman  stands  facing  to  the  right,  and  holds  a  burning  torch  over  an  altar  with 
Ionic  volutes.  A  flame  burns  on  the  altar,  and  there  are  blood  marks  on  its  side.  The 
woman  wears  himation  over  a  chiton  (striped  with  thin  glaze  lines)  with  full  sleeves,  and 
her  hair  is  done  up  in  a  sakkos  which  covers  it  completely.  Behind  her  is  a  chair  with 
striped  cushion,  over  which  a  taenia  is  festooned  in  the  field. 


104  ATHENIAN   WHITE   LEKYTHOI 

Scenes  representing  a  goddess  or  a  woman  before  a  burning  altar 
have  been  discussed  above  (p.  44  f.).  They  continue  to  be  found  in 
Group  B,  and  the  present  lekythos  differs  from  those  that  were  treated 
before  in  that  this  scene  is  combined  with  a  festooned  taenia  and  chair 
with  cushion  of  a  type  which  is  very  characteristic  of  Group  B;  i.e. 
the  religious  scene  has  not  been  supplanted  by  a  domestic  scene,  as 
often  happens,  but  in  this  instance  is  has  been  transformed  into  a 
sacrificial  scene  of  domestic  life.  It  is  only  in  his  treatment  of  the 
scene  that  the  artist  has  anything  of  originality;  the  drawing  is  rude 
and  conventional. 

69.  Athens.  Nat.  Mus.  1918,  Cv.  1075.     Attica  (Vari).     H.  0.15  m. 
AeXrtW,  1891,  15,  no.  99. 

Form  rather  slender.  Above  the  scene  a  simple  maeander;  below  it  a  single  applied 
purple  line  on  black.  The  hair  is  not  solid  black,  but  an  effort  is  made  to  represent  it 
more  graphically.  Drawing  more  careful  than  on  the  following  specimens. 

A  satyr  runs  to  the  right  and  looks  back  toward  a  thyrsos  which  stands  erect. 

The  same  scene,  including  the  thyrsos  standing  erect,  is  seen  on  a 
red-figured  vase  at  Athens  (Athens,  Nat.  Mus.  1554). 

70.  New  York,    Metr.   Mus.    1824.      Amer.   Jour.    Arch.  II,    397, 
no.  7.     Vicinity  of  Athens.     H.  0.158  m. 

Low  flat  mouth.  On  the  shoulder  are  two  bands  of  rays  far  apart.  Above  the  scene 
a  series  of  vertical  lines  close  together,  instead  of  maeander.  Slip  quite  brown.  The 
glaze  of  the  drawing  is  thinner  than  on  some  of  the  earlier  specimens.  A  dull  purplish 
color  (fading  to  gray)  is  used  for  the  himation.  The  folds  of  the  chiton  below  are  drawn 
in  close  lines  of  thin  glaze. 

A  woman  sits  facing  toward  the  right,  holding  a  mirror  in  her  left  hand,  and  raising  a 
flower  to  her  nose  with  her  right  hand.  The  chair  or  stool  is  no  longer  to  be  seen.  Over 
her  chiton  she  wears  a  himation  which  is  wrapped  closely  round  her  and  covers  the  right 
arm;  her  hair  is  also  covered  with  a  cloth.  Behind  her  in  the  field  hangs  a  purse;  and 
before  her  is  inscribed  KAU-E. 

A  seated  woman  with  mirror  is  found  on  many  of  the  red-figured 
vases  of  about  this  period,1  and  belongs  with  the  other  scenes  from 
domestic  life  which  came  into  favor  about  the  middle  of  the  fifth  cen- 
tury B.C.  Why  this  figure  is  so  closely  draped  is  not  easy  to  say. 
The  combination  of  a  flower  and  a  mirror  in  the  hands  of  a  woman 
is  found  on  the  following  vase. 

71.  Athens,  Nat.  Mus.   1793,  Cv.   1032.     Vicinity  of  Athens.      H. 
0.20  m. 

Shape  careless.  Foot  a  simple  red  disk,  flat  underneath.  Above  the  scene  is  a  simple 
maeander;  below  it,  a  red  line  between  applied  purple  lines. 

1  E.g.  Athens,  Nat.  Mus.  1194  (drawing  severe)  ;  Nat.  Mus.  1624  (later  careless  drawing). 


GROUP  A:   CLASS  III,  69-75  105 

t 

A  woman  stands  by  a  box  or  seat,  and  holds  in  her  left  hand  a  mirror,  in  her  right  hand 
a  flower.  She  wears  the  usual  two  garments,  and  her  hair  is  in  a  sakkos. 

72.  Athens,  Nat.  Mus.   1784,  Cv.   1027.     Vicinity  of  Athens.     H. 
O.I 8  m.     Bull.  Corr.  Hell.  V,  359,  no.  25. 

Shape  and  ornamentation  like  the  last  specimen.     The  slip  is  unusually  greenish. 

A  woman  carrying  a  large  box  in  her  left  hand  and  a  mirror  in  her  right  hand  ad- 
vances toward  the  right  and  looks  back.  She  wears  a  Doric  chiton  girded,  open  at  the 
side,  with  fold  from  the  shoulder;  her  hair  is  held  up  by  a  cloth  behind. 

The  appearance  of  the  Doric  chiton  is  only  noticeable  because  the 
conventional  practice  on  this  group  of  lekythoi  demands  the  other 
type  of  garment.  No  doubt  a  change  of  fashion  in  women's  garments 
was  the  occasion  for  the  change  by  the  painter,  and  this  painter  antici- 
pates the  freedom  which  is  found  in  the  following  class  of  lekythoi. 

73.  Athens,  Nat.  Mus.  1786,  Cv.   1029.     Vicinity  of  Athens.     H. 
0.20  m. 

Shape  and  ornamentation  like  the  last  two.      Drawing  very  hasty. 
A  Bacchante  carrying  a  thyrsos  advances  to  left  and  looks  back.     Hands  very  stiff. 
The  sleeve  chiton,  undergirded,  has  an  ornament  along  the  edge.1 

74.  Athens,  Nat.  Mus.  1787,  Cv.   1030.     Vicinity  of  Athens.     H. 
0.18  m. 

Shape  and  ornamentation  like  the  last  three.  The  slip  is  marred  by  careless  polish- 
ing on  the  wheel. 

A  woman  carrying  a  branch  in  her  left  hand  moves  toward  the  right  and  looks  back, 
extending  her  right  hand  back.  The  sleeve  chiton  has  black  folds  above  and  thin  glaze 
folds  below;  her  hair  is  in  a  sakkos.2 

75.  Athens,  Nat.  Mus.   1788,  Cv.  1031.     Vicinity  of  Athens.     H. 
O.I 8  m.     Heydemann,  Griech.  Pasen.Taf.  ix,  3;    Bull.  Corr.  Hell.V, 
p.  368,  no.  26. 

The  body  grows  smaller  from  the  shoulder  down.  Foot  simple;  ornamentation  like 
the  last  four. 

On  a  chair  with  high  back  sits  a  woman  playing  with  four  balls.  She  wears  the  usual 
sleeve  chiton. 

The  full  scene  from  which  this  figure  of  a  woman  playing  with 
several  balls  is  taken  appears  on  a  vase  in  Leyden;8  a  gyfiaikeion  is 
represented,  and  two  youths  are  bringing  presents  to  the  woman  who 
is  performing.  On  a  lekythos  already  discussed  (no.  II,  p.  44)  the 

1  On  the  evolution  of  the  maenad  type  cp.  Brit.  Mui.  Cat.  Ill,  35.     A  figure  very  like  the  present  one 
is  found  on  the  red-figured  vase,  Athens,  Nat.  Mus.  1915. 

2  This  schema  of  a  figure  advancing  and  looking  back  is  discussed  above,  p.  79. 
*  Roulez,  fasti  peintt  de  Leydc,  pi.  xx. 


io6  ATHENIAN   WHITE    LEKYTHOI 

same   scene   appears,  and  a   black  crow  adds  another  element  from 
domestic  life.1 

76.  Athens,  Nat.  Mus.  1829,  Cv.  1637.     Eretria.     H.  0.21  m. 

Shape  rather  heavy.  Above  the  scene  an  ornament  of  curved  lines;  below  it  are 
four  clay-red  lines.  Red  is  used  for  the  himation,  and  pink  lines  for  the  close  folds  of 
the  chiton.  Slip  slightly  greenish. 

On  a  stool  sits  a  woman  facing  toward  the  left;  she  holds  a  mirror  up  in  her  right  hand. 
The  sleeve  chiton  is  ornamented  with  close  pink  stripes  (or  folds);  the  red  himation  covers 
the  left  arm.  Her  hair  is  drawn  in  rather  careful  curls.  In  the  field  hangs  a  lekythos, 
and  the  word  K  A  AE  is  inscribed. 

Although  this  vase  is  much  later  than  other  members  of  the  group, 
it  has  many  of  the  technical  characteristics  which  would  place  it  here. 
It  is  strange  that  the  use  of  fine  black  relief  lines  on  white  lekythoi  dis- 
appeared so  completely  that  this  is  almost  the  only  specimen  of  a 
mruch  later  date  on  which  the  drawing  is  in  this  style. 

77.  Athens,  Nat.  Mus.  2022,  Cv.  1016.    Megara.     H.  0.185  m- 

Foot  a  plain  red  disk.  Maeander  simple;  below  the  scene  a  reserved  red  line.  The 
slip  is  rather  fine,  but  the  drawing  is  rude. 

A  woman  (  ?)  carrying  a  lyre  advances  toward  the  right;  she  wears  a  himation  reach- 
ing to  the  knees. 

78.  Athens,   Nat.   Mus.    1883,   Cv.    1024.     H.   0.20  m.     Dumont- 
Chaplain  II,  51,  no.  8. 

Foot  a  plain  red  disk.  Above  the  scene  two  rows  of  dots;  below  it,  a  clay-red  line. 
The  slip  was  badly  scratched  in  careless  polishing. 

Nike,  with  wings  spread  in  opposite  directions,  advances  toward  the  right.  She  wears 
a  chiton,  and  also  a  himation  which  covers  her  hands. 

79.  Syracuse,  22951.     Camarina.     H.  about  0.17  m. 

Two  rows  of  bars  on  the  shoulder;  maeander  above  the  scene.  Black  relief  lines  are 
used  for  the  head  and  arms,  and  solid  black,  applied  unevenly,  for  the  garment.  The 
chiton,  the  feet,  and  the  rocks  are  drawn  in  thin  orange  glaze. 

On  a  pile  of  rocks  a  woman  sits  facing  toward  the  right,  supporting  her  head  on  her 
left  hand.  In  the  field  at  the  right  hangs  a  bow. 

80.  Syracuse,  23949.     Camarina.     H.  about  0.30  m. 

On  the  red  shoulder  are  five  rude  palmettes;  the  maeander  is  very  careless.  Slip 
yellowish  brown.  Black  relief  lines  are  used  for  the  garment,  the  spear,  the  right  hand, 
and  the  left  arm;  the  legs,  the  head,  and  the  helmet  are  drawn  in  coarser  lines  of  thin 
glaze;  the  rocks  are  black  with  added  white  details. 

A  youth  in  three-quarters  view  sits  on  a  pile  of  rocks,  his  head  bowed.  His  right  hand 
supports  a  spear  on  his  shoulder,  and  his  left  rests  on  his  knee.  He  wears  a  short  sleeve- 
less chiton,  girded;  his  Corinthian  helmet  is  pushed  back.. 

1  Cp.  also  Athens,  Nat.  Mus.  1512,  1513. 


GROUP  A:   CLASS  III,  76-80  107 

These  two  lekythoi  are  particularly  interesting  in  that  they  form  a 
sort  of  transition  between  Group  A  and  Group  B.  On  several  vases 
of  Group  B,1  also  found  in  Sicily,  the  black  relief  lines  are  used  for 
part  of  the  drawing,  but  the  use  of  white  enamel  clearly  places  these 
in  the  second  main  group.  In  spite  of  the  difference  in  size  it  would 
appear  that  these  two  lekythoi  came  from  the  same  shop  at  the  same 
time.  The  similarity  in  the  scene,  which  does  not  appear  elsewhere 
on  outline  lekythoi,  suggests  that  the  experiment  in  two  forms  of  out- 
line technique  was  made  by  a  painter  who  was  inclined  to  experiment; 
and  when  white  enamel  was  added  for  the  flesh  of  women,  his  ex- 
periment proved  the  final  break  with  the  fine  relief  lines  of  the  red- 
figured  technique. 

Numbers  77  and  78  are  so  rude  and  insignificant  that  they  deserve 
no  further  mention.  With  this  exception  the  series  consists  of  lekythoi 
about  o.i 8  m.  high,  and  rather  heavy  in  shape.  The  mouth  is  low  and 
spreading,  the  foot  a  simple  red  disk,  the  slip  brown  or  sometimes 
slightly  tinged  with  green.  Numbers  71-75  form  a  particularly  homo- 
geneous set.  The  ornament  above  and  below  the  scene  and  on  the 
shoulder  is  of  the  same  type,  the  style  of  drawing  is  the  same,  and  they 
were  all  found  in  the  same  vicinity.  The  scenes  also  present  types  which 
are  characteristic  of  the  later  period  of  Group  A,  in  fact,  all  but  one  are 
scenes  of  domestic  life.  Numbers  64-70  do  not  form  such  a  closely 
connected  series,  and  yet  they  have  many  points  in  common.  Three 
of  them  have  inscriptions  in  the  Attic  alphabet;  the  altar  scenes  and 
Nike  figures  of  lekythoi  considered  in  preceding  classes  appear  on  most 
of  them;  the  conventional  garments  of  earlier  classes  are  repeated  here; 
and  on  several  the  traces  of  a  preliminary  sketch  may  be  discerned. 
At  the  same  time  there  are  indications  that  these  lekythoi  also  belong  to 
a  period  of  transition.  Two  of  them  present  scenes  from  the  domestic 
life  of  women,  and  one  or  two  other  scenes  could  be  interpreted  in  this 
same  way.  On  no.  70  a  dull  color  is  used  for  the  himation  (as  on  Class 
II,  12,  p.  43);  and  I  have  already  pointed  out  that  the  profile  on  nos. 
66  and  67  closely  approximates  to  a  type  common  on  earlier  vases  of 
Group  B.  The  peculiar  palmettes  on  the  first  four  numbers  of  this 
series  are  the  most  characteristic  feature  of  their  ornamentation.  These 
occur  on  three  lekythoi  discussed  above  (nos.  20,  21,  23,  p.  76, 
77),  and  they  are  rarely  found  on  red-figured  lekythoi  of  this  period.1 

1  Cla»  IV,  »eria  i,  nos.  1 5  and  19 ;  tenet  2,  no.  13;  tenet  3,  no.  1 7. 
*  Cp.  Athens,  Nat.  Mus.  1 302. 


io8  ATHENIAN   WHITE   LEKYTHOI 

The  schema  is  not  particularly  attractive,  and  evidently  never  met  with 
popular  favor. 

The  use  of  thin  glaze  for  garment  folds  appears  as  an  experiment  on 
one  of  the  earlier  numbers  of  Class  II  (5,  p.  61),  and  is  common  enough 
on  red-figured  lekythoi  from  the  middle  of  the  fifth  century  B.C.1  It 
seems  to  indicate  the  same  kind  of  material  which  on  early  sculptured 
reliefs  is  indicated  by  the  use  of  wavy  parallel  lines  close  together. 
On  white  lekythoi  the  device  is  soon  dropped,  and  succeeded  by  other 
methods  of  representing  different  textures.  The  only  interest  which 
attaches  to  this  device  is  that  it  is  a  first  attempt  to  represent  garments 
of  different  material,  and  that  this  aim  for  greater  picturesqueness  is 
one  motive  in  producing  the  changes  in  technique  which  appear  in 
Group  B  and  the  succeeding  groups. 


Conclusion  of  Class  III  (Group  A} 

It  is  now  possible  to  summarize  the  characteristics  of  Class  III  as 
a  whole.  Most  of  the  lekythoi  of  this  class  are  small  and  rather  squat, 
with  low,  broad  mouth  and  a  simple  red  disk  for  the  foot.  A  few  are 
of  medium  size,  rather  slender,  with  the  bell-shaped  mouth;  the  finer 
shape  which  is  common  in  the  two  preceding  classes  is  rarely  found 
here.  The  universal  characteristic  of  the  class  is  that  neck  and  shoulder 
are  red,  and  commonly  there  is  no  plastic  ridge  separating  the  two. 
As  for  the  ornamentation,  the  shoulder  has  either  the  band  of  lotus 
buds  pointing  out,  or  more  commonly  the  two  rows  of  bars  into  which 
this  earlier  type  degenerated.  On  a  few  specimens  four  or  five  rude 
palmettes  are  found.  Above  the  scene  the  maeander  is  usually  simple; 
rarely  is  it  broken  by  horizontal  crosses,  or  replaced  by  some  entirely 
different  device.  Below  the  scene  the  ordinary  type  of  ornament  is 
a  wide  reserved  line,  between  purple  lines  applied  on  the  black;  the 
two  purple  lines  just  below  the  scene,  common  in  Classes  I  and  II,  are 
not  found  here.  In  general  it  may  be  said  that  these  small  lekythoi 
repeat  many  of  the  characteristics  of  the  earlier  black-figured  lekythoi, 
and  do  not  show  the  influence  of  the  finer  lekythoi  with  black  figures 
on  a  white  slip  (many  of  them  from  Eretria)  with  which  the  two  preced- 
ing classes  are  so  closely  related. 

Turning  to  the  question  of  technique  in  the  drawing,  we  find  traces 
of  a  preliminary  sketch  on  only  a  few  specimens;  most  of  them  are 

1  Cp.  Athens,  Nat.  Mus.  1503,  1507. 


CONCLUSION  OF  CLASS  III  (GROUP  A;  109 

so  careless  that  this  device  was  dispensed  with.  As  in  the  whole  of 
Group  A,  the  drawing  is  in  fine  relief  lines  of  black;  the  hair  is  in  sil- 
houette, but  with  the  exception  of  two  small  and  distinct  series  nothing 
else  is  in  solid  black.  In  one  or  two  instances  details  are  added  in 
purple  on  a  black  ground,  but  this  also  is  a  refinement  belonging  to 
larger  vases.  On  three  or  four  specimens  a  line  of  some  wash  color  is 
drawn  along  the  edge  of  the  garment,  and  in  two  cases  solid  color  is 
used  for  a  garment.  Thin  glaze  is  rarely  used,  e.g.  for  flame,  but  in 
one  series  thin  glaze  lines  close  together  denote  a  particular  texture  of 
the  chiton. 

In  general  we  find  here  the  same  type  of  scene  as  before,  viz.  a 
single  figure  with  a  suggestion  of  the  action  in  which  it  is  engaged;  in 
a  few  instances,  however,  the  artist  breaks  this  convention  and  strikes 
out  on  a  line  which  was  followed  by  later  lekythos  painters,  by  the  ad- 
dition of  a  second  figure.  On  some  of  the  earlier  specimens  the  scene 
is  flanked  by  two  large  palmettes,  and  when  this  is  abandoned,  other 
objects  begin  to  be  introduced  into  the  field.  Columns  stand  at  the 
side ;  utensils  of  the  palaestra,  a  purse  or  a  mirror  or  a  lekythos,  hang  at 
the  side;  a  basket  of  wool  on  the  ground  indicates  a  scene  from  do- 
mestic life,  or  a  goal-post  suggests  the  palaestra;  in  one  case  the  later 
grave  monument  appears.  These  devices  for  filling  out  the  scene  be- 
come typical  in  the  next  groups,  and  something  of  the  kind  is  found 
in  all  later  classes  of  lekythoi.  Finally,  an  inscription  is  sometimes 
added.  This  occurs  only  once  or  twice  in  Classes  I  and  II,  where  one 
conventional  type  is  most  closely  followed,  but  there  is  greater  range  of 
freedom  in  these  small  lekythoi. 

The  contents  of  the  scenes  are  in  general  the  same  as  in  the  preced- 
ing classes.  The  commonest  type  is  a  figure  —  a  warrior,  or  a  woman, 
or  a  goddess  —  advancing  and  looking  back.  Other  types  which  recur 
less  frequently  —  the  woman  by  an  altar,  the  flying  Eros,  the  large  head 
—  also  repeat  scenes  which  have  been  studied  in  connection  with  the  first 
two  classes.  As  was  pointed  out  under  Class  II,  these  are  not  abbre- 
viations of  larger  scenes,  but  rather  extracts  from  them.  In  this  class 
two  new  types  appear,  —  the  domestic  scenes  which  are  characteristic 
of  Class  IV,  and  the  grave  scenes  which  eventually  displace  all  other 
types.  In  contrast  with  the  other  types  the  grave  scenes  cannot  be  re- 
garded as  extracts  from  more  complete  representations;  they  are  com- 
plete in  themselves,  and  were  in  all  probability  devised  for  this  class  of 
vase  because  of  its  use  in  connection  with  the  burial  of  the  dead.  The 
presence  of  the  various  objects  in  the  field  and  the  experiments  in  the 


i  io  ATHENIAN   WHITE   LEKYTHOI 

use  of  thin  glaze  and  even  of  color,  alike  show  the  effort  of  the  artist  to 
produce  more  decorative  and  picturesque  effects. 

It  is  hardly  worth  while  in  the  case  of  a  class  which  is  so  far  from 
being  homogeneous  to  study  the  details  of  the  scenes.  As  to  the  at- 
titude of  the  figures,  we  find  figures  in  full  profile  standing  squarely 
on  both  feet,  and  figures  in  motion,  partly  turned  to  the  spectator,  with 
the  breast  and  shoulder  in  imperfect  perspective.  The  women  generally 
have  the  same  two  garments  as  in  the  preceding  class,  but  in  two  in- 
stances the  Doric  chiton  with  open  side  appears.  The  hair  of  the 
women  is  either  done  up  in  a  sakkos,  or  fastened  in  a  mass  at  the  back 
of  the  head  by  means  of  a  cord;  the  simple  braid  down  the  back  is 
not  found. 

The  inscriptions  which  occur  on  isolated  specimens  have  a  special 
interest  as  they  throw  some  definite  light  on  the  question  of  date.  Com- 
bining these  data  with  such  results  as  may  be  obtained  by  a  study  of 
the  technique,  both  of  the  drawing  and  of  the  pottery  itself,  we  may 
say  with  some  confidence  that  the  vases  of  Class  III  are  in  general  con- 
temporaneous with  those  of  the  two  preceding  classes,  i.e.  they  belong 
to  the  second  quarter  of  the  fifth  century  B.C.  Some  specimens  of  the 
present  class  show  closer  relations  with  the  genuine  black-figured  ware 
than  any  in  the  first  two  classes;  shape  and  decoration  are  the  same  as 
in  the  case  of  black-figured  lekythoi,  and  some  scenes  characteristic 
of  the  black-figured  technique  are  reproduced  with  scarcely  any  modi- 
fication. On  the  other  hand,  there  are  specimens  which,  both  in  the 
general  style  of  the  drawing  and  in  the  subjects  represented,  are  closely 
allied  to  the  vases  of  Class  IV.  One  thing  is  clear,  viz.  that  Class  III 
represents  a  different  current  in  lekythos  painting  from  the  two  preced- 
ing classes.  They  show  the  influence  of  the  lekythoi  with  black  figures 
on  a  white  ground,  such  as  have  been  found  especially  in  Eretria;  these 
vases  show  no  traces  of  that  influence,  but  on  the  contrary  continue  the 
traditions  of  the  early  small  lekythoi  with  black  figures  on  a  red  ground. 
In  Class  IV  these  two  currents  combine.  The  larger  size  and  the  orna- 
mentation of  Classes  I  and  II  prevail,  and  the  scenes  are  rather  in  the 
spirit  of  the  later  specimens  of  Class  III. 

The  account  of  Group  A  would  be  incomplete  without  some  mention 
of  the  numerous  lekythoi  found  in  almost  every  tomb  that  is  opened  near 
Athens,  on  which  some  form  of  conventional  decoration  takes  the  place 
of  a  scene  representing  men  or  women.  Although  these  lekythoi  are 
not  limited  to  any  one  chronological  period,  they  are  drawn  in  black 


CONCLUSION  OF  GROUP  A  , ,  i 

glaze  on  a  dull  white  surface,  and  the  general  shape  and  ornamentation 
follow  types  which  have  been  described  in  connection  with  the  classes 
under  Group  A.  The  larger  number  of  these  lekythoi  are  rather 
small,  and  have  the  red  neck  of  Class  III.  Usually  the  maeander  runs 
around  the  top  of  the  body,  and  it  may  be  repeated  at  the  edge  of 
the  black  slip  below.  The  typical  shoulder  ornament  consists  of  fvo 
rows  of  black  bars  on  red.  The  ornament  on  the  body  of  the  vase  may 
be  a  branch  of  ivy  with  leaves  (as  on  one  published  specimen '),  or 
a  spray  with  scrolls  and  palmettes.  More  commonly  it  consists  of  a 
series  of  parallel  bands,  of  which  one  is  almost  sure  to  consist  of  a 
checkerboard  pattern;  the  ivy-leaf  pattern  or  a  series  of  small  palmettes 
occurs  very  frequently.  In  such  patterns  there  is  nothing  to  distinguish 
outline  technique  from  black-figured  technique,  and  the  glaze  is  usually 
applied  flat  instead  of  being  put  on  so  thick  as  to  stand  out  in  relief. 
Still  the  general  resemblance  of  this  numerous  series  of  lekythoi  to  the 
more  careful  specimens  which  have  been  discussed  in  detail  is  such 
that  they  deserve  a  word  of  mention  in  this  connection.  Their  manu- 
facture and  use  seems  to  have  continued  well  into  the  fourth  century 
without  any  appreciable  change  in  technique. 


Conclusion  of  Group  A 

The  one  characteristic  which  is  common  to  all  the  lekythoi  which 
have  been  discussed  under  the  first  three  classes  is  the  use  of  relatively 
fine  lines  of  black  glaze  for  the  main  scene,  and  the  application  of  this 
glaze  in  so  thick  a  state  that  the  lines  actually  stand  out  in  relief.  This 
same  characteristic  is  found  on  most  of  the  small  alabastra,  on  which 
the  scene  is  drawn  in  outline,  and  on  two  or  three  of  the  kylikes  with 
outline  drawing  on  a  white  surface.  There  are,  however,  such  differences 
in  the  technique  of  the  different  classes  of  vases  with  outline  drawing 
in  glaze  lines  that  it  is  not  possible  to  treat  them  together,  and  the  com- 
parison of  these  different  groups  of  lekythoi  with  vases  of  other  shapes 
having  a  similar  technique  is  not  particularly  instructive. 

Some  general  questions  remain  to  be  discussed  before  passing  t)  the 
following  group.  These  questions  naturally  fall  under  three  headings: 

1.  Character  of  the  scene  and  of  the  drawing  on  lekythoi  of  Group  A. 

2.  Relation  of  these  lekythoi  to  vases  of  other  shapes. 

3.  Use,  range  of  export,  reasons  for  change  of  technique. 

1  Renan,  Minion  de  Pbenicie,  pi.  xxi,  no.  7 ;   Pettier,  Vatti  anti^met  d»  L»*vre,  II,  F  518. 


ii2  ATHENIAN   WHITE    LEKYTHOI 

i.  Character  of  the  scene  and  of  the  drawing. — As  a  rule  the 
scene  on  these  lekythoi  consists  of  but  a  single  figure,  and  the  reasons 
for  this  are  not  evident  at  first  sight.  Lekythoi  with  black  figures 
on  a  white  ground  have  scenes  with  three  or  four  figures ;  the  same  is 
true  of  some  alabastra  with  outline  drawing  on  white,  and  later  outline 
lekythoi  regularly  have  two  figures.  A  little  later  than  the  period  in 
which  the  lekythoi  of  this  group  were  made,  it  became  customary  to 
put  but  one  figure  on  the  side,  e.g.  of  the  amphora;  this  was  an  exten- 
sion of  a  device  which  had  for  some  time  been  usual  in  the  case  both  of 
outline  and  of  red-figured  lekythoi.  Both  for  the  amphora  and  for 
the  lekythos  the  primary  reason  for  this  limitation  of  the  scene  seems 
to  have  been  its  purely  decorative  character.  In  order  to  express  some 
definite  thought  as  many  as  three  figures  were  ordinarily  necessary. 
The  sharp  curvature  of  the  lekythos  interfered  with  the  use  of  many 
figures  for  this  purpose,  and  as  soon  as  the  purely  decorative  character 
of  the  scene  was  frankly  recognized,  one  figure  with  a  few  accessories, 
or  a  figure  framed  by  large  palmettes,  was  seen  to  be  the  best  means  of 
attaining  that  end.  A  cock  suggesting  the  cock  fight,  an  altar  as  for 
sacrifice,  the  arms  which  a  warrior  was  engaged  in  putting  on,  such 
accessories  helped  to  give  the  single  figure  meaning.  Still,  the  first 
aim  of  accessories  was  to  fill  up  the  field  about  the  single  figure  and  their 
meaning  was  comparatively  unimportant;  in  fact,  the  meaning  of  the 
scene  was  soon  lost  sight  of  completely.  The  manner  in  which  a 
single  figure  could  best  be  used  for  decorative  purposes  had  been  in  a 
measure  determined  by  the  experiments  of  kylix  painters  with  the  in- 
terior of  the  kylix.  Here  the  conditions  were  slightly  different  in  that 
the  field  was  round  instead  of  square;  in  the  round  field  there  was 
no  place  for  the  bounding  palmettes,  and  such  accessory  ornaments 
as  the  hanging  utensils  were  not  so  easily  introduced;  again  the  round 
field  was  not  nearly  so  favorable  for  a  flying  figure,  and  such  figures 
were  relatively  less  common.  But  the  other  scenes  —  the  person  advan- 
cing, or  advancing  and  looking  back,  the  youth  leaning  on  a  stick,  the 
woman  seated  or  standing  by  an  altar  —  were  used  in  exactly  the  same 
manner  on  the  interior  of  kylikes  as  on  lekythoi;  it  seems  reasonable  to 
believe  that  in  general  they  were  adapted  by  the  lekythos  painter  from 
the  use  on  kylikes.  The  close  connection  between  these  two  types  of 
vases  I  shall  have  occasion  to  emphasize  under  the  next  heading.1 

The  general  nature  of  these  scenes  has  already  been  made  apparent; 
they  were  primarily  decorative,  and  there  was  no  consistent  effort  to 

1  Cp.  Klein,  Eupbronios  2,  S.  26. 


CONCLUSION  OF  GROUP  A  113 

give  them  any  definite  meaning.  Such  scenes  ready  for  the  painter  to 
copy  existed  already  on  the  interior  of  kylikes;  others  could  be  obtained 
either  by  extracting  figures  from  more  complete  scenes,  or  by  condensing 
the  fuller  scenes.  The  range  of  these  two  latter  methods  has  already 
been  suggested  in  the  preceding  discussion.  The  old  man  leaning  on 
his  staff  and  looking  down  at  a  cock,  the  hunter  with  dog  pursuing  a 
hare,  may  fairly  be  regarded  as  abbreviations  of  the  same  scene  as  it 
occurred  on  black-figured  lekythoi  or  on  the  exterior  of  kylikes.  The 
artist  succeeds  in  retaining  all  that  is  really  significant.  It  is  much 
simpler  to  take  a  single  figure,  with  or  without  some  accessory,  just  as 
it  stands  in  the  fuller  scene;  and  this  method  of  extraction  is  the  com- 
moner. In  either  case  the  range  of  invention  is  extremely  small,  and 
when  the  figure  has  been  obtained,  it  continues  to  be  copied  as  long  as 
it  meets  popular  fancy.  Perhaps  the  flying  Nike  or  Eros  was  not  simply 
copied,  butwas  further  developed  by  the  painters  of  lekythoi  in  both  the 
outline  and  the  red-figured  technique;  again,  when  once  the  type  was 
set,  it  continued  to  be  reproduced  with  no  change,  —  the  figure  always 
faced  to  the  right,  and  the  only  variations  are  in  the  objects  placed  in  the 
hands.  In  the  other  scenes  also  more  than  ninety  per  cent  of  the  figures 
face  to  the  right.  No  variety  is  sought  in  the  garments;  women  have 
the  sleeve  chiton  and  himation,  Nike  the  chiton  and  light  shawl  or 
scarf,  men  the  himation,  youths  the  chlamys.  The  gesture  of  holding 
out  both  hands  seems  to  have  pleased  the  painter,  and  it  is  used  con- 
stantly. Even  the  treatment  of  the  hair  follows  one  or  two  definite 
types.  That  there  should  be  no  effort  for  variety  seems  strange,  and 
if  it  be  true  that  lekythoi  were  painted  in  this  general  style  for  more 
than  a  quarter  of  a  century,  such  persistence  of  type  seems  still  more 
strange. 

Only  two  of  the  scenes  found  on  these  lekythoi  can  be  regarded  as 
in  any  sense  distinctive;  the  rest  are  purely  decorative  and  might  appear 
on  the  amphora  or  the  kylix  with  as  much  appropriateness  as  they  have 
on  lekythoi.  The  two  distinctive  scenes  have  to  do  with  domestic 
life,1  and  with  the  grave.2  The  lekythos  as  a  perfume  bottle  found  its 
use  in  the  gynaikeion ;  in  the  present  group  a  few  specimens  have  scenes 
drawn  from  domestic  life,  and  these  are  the  scenes  which  show  some 
connection  with  reality;  in  the  following  group  such  scenes  predominate 
and  become  fixed  in  a  few  new  types.  The  lekythos  as  a  perfume  bottle 
also  found  a  use  in  connection  with  the  burial  of  the  dead.  A  few 
scenes  are  drawn  from  this  source  in  the  present  group,  and  these  arc 

1  Class  III,  nos.  39,  45,  46,  56,  70,  71,  75,  76.  *  Cla»  II,  no.  19 ;  CU»  III,  not,  43,  59,  6j. 


I 


ii4  ATHENIAN   WHITE   LEKYTHOI 

even  closer  to  reality  than  is  the  case  with  domestic  scenes,  for  here  the 
artist  had  no  types  at  all  to  fall  back  on.  Scenes  connected  with  the 
grave  continue  to  be  unusual  in  Group  B;  in  later  groups  they  almost 
completely  supplant  other  types,  a  fact  that  is  due  to  the  habit  of  using 
lekythoi  more  and  more  for  the  sole  purpose  of  funeral  perfumes.  The 
decoration  of  pottery  with  scenes  suggested  by  the  use  to  which  it  was 
put,  and  in  particular  the  prevalence  of  scenes  drawn  from  domestic 
life,  is  an  integral  part  of  the  movement  in  which  red-figured  ware 
supplanted  the  black-figured  ware. 

The  only  originality  evinced  by  the  makers  of  these  lekythoi  has  to 
do  with  the  technique.  A  white  slip  has  been  used  in  all  the  history  of 
vase  painting  (cp.  supra  p.  14  f.)  and  on  later  black-figured  pitchers  and 
lekythoi  its  use  was  quite  common.  On  the  outline  lekythoi  of  this 
group  two  kinds  of  slip  are  found :  a  hard,  thin,  brownish  slip  not  unlike 
that  on  the  earlier  black-figured  ware  except  that  it  is  more  carelessly 
put  on  and  is  considerably  less  white,  and  a  thicker  white  slip  of  creamy 
consistency.  Something  like  this  second  type  of  slip  is  found  on  a 
group  of  later  black-figured  lekythoi  from  Eretria  to  which  reference 
has  been  made  more  than  once;  on  these  specimens,  however,  the  slip 
is  less  fine  and  creamy.  On  a  few  kylikes  with  outline  drawing  the 
second  type  of  slip  is  used,  and  here  it  is  more  carefully  made  and  applied 
than  on  any  of  the  outline  lekythoi.  The  first  kind  of  slip,  only  of  a 
still  darker  color,  is  the  only  kind  that  is  adapted  to  the  peculiar  tech- 
nique of  lekythoi  in  Group  B;  while  on  lekythoi  of  later  groups  a  pure 
white  slip  of  different  consistency  supplants  both  the  earlier  kinds. 

The  fine  relief  lines  of  black  glaze  in  which  the  scene  is  drawn  are 
just  like  the  lines  used  for  details  of  the  figure  on  red-figured  vases; 
the  use  of  solid  black  for  the  hair,  and  the  practice  of  making  a  prelimi- 
nary sketch  in  the  soft  clay  on  more  careful  specimens,  are  also  part  of 
the  red-figured  technique.  Lines  in  thin  glaze  for  garment  folds  are 
found  on  red-figured  lekythoi  as  frequently  as  on  white  lekythoi.  The 
experiments  in  the  use  of  dull  color  are  wholly  new,  but  they  follow 
naturally  when  the  painter  has  a  white  surface  on  which  to  work.  After 
the  dependence  of  the  outline  painter  on  both  the  black-figured  and  the 
red-figured  methods  has  been  fully  recognized,  it  remains  true  that  the 
innovation  of  using  lines  instead  of  surfaces  is  quite  as  important  as 
the  change  from  the  black-figured  to  the  red-figured  technique.  In  a 
word  it  may  fairly  be  said  of  the  present  group,  Group  A,  as  a  whole 
that  it  is  a  series  of  experiments  in  a  new  technique,  and  that  the  future 
successes  of  the  new  method  are  only  dimly  foreshadowed. 


CONCLUSION  OF  GROUP  A  115 

2.  The  relation  of  this  group  of  white  lekythoi  to  other  classes  of 
vases.  —  It  has  already  been  pointed  out  that  the  white  lekythoi  of 
Classes  I  and  II  were  in  all  probability  made  in  the  same  shops  with  a 
series  of  black-figured  white  lekythoi  of  which  most  specimens  were 
found  on  the  island  of  Eretria;  and  farther  it  is  clear  that  both  these 
series  of  lekythoi  were  made  under  the  influence  of  painters  of  red- 
figured  vases.  The  similarity  of  the  two  series  of  lekythoi  lies  in  their 
technique;  the  shape  and  size  are  the  same,  the  same  kind  of  slip  is 
used,  and  the  ornamentation  is  exactly  the  same.  On  the  other  hand, 
the  general  schema  and  the  style  of  the  main  scene  is  different:  the  out- 
line lekythoi  have  a  single  figure  drawn  with  ornamental  purpose, 
while  the  black-figured  specimens  generally  present  a  scene  of  three 
or  four  figures.  The  latter  scenes  are  such  as  would  be  found  on  the 
shoulder  of  a  hydria,  or  more  commonly  on  the  exterior  of  a  kylix; 
the  former  correspond  to  the  interior  scene  of  the  kylix. 

The  technique  of  Class  III,  on  the  other  hand,  bears  little  or  no 
resemblance  to  that  of  red-figured  lekythoi,  or  to  the  series  of  Eretrian 
lekythoi  just  mentioned.  In  size,  shape,  slip,  and  decoration  these 
small  specimens  continue  the  traditions  of  one  series  of  black-figured 
lekythoi  with  little  or  no  change.  But  here  again  the  schema  and  style 
of  drawing  has  changed,  and  that  in  the  same  direction  as  in  the  case 
of  the  larger  specimens  of  the  preceding  classes.  It  is  again  the  same 
type  of  scene  as  that  on  the  interior  of  kylikes  which  is  found  on  these 
lekythoi;  moreover  the  device  of  framing  the  scene  by  scrolls  and  pal- 
mettes  is  a  device  which  properly  belongs  to  the  kylix  painter,  though 
it  is  used  to  frame  scenes  on  the  outside  rather  than  on  the  interior  of 
the  kylix  (cp.  supra  p.  73  and  93). 

The  range  of  scenes  on  these  lekythoi  which  are  derived  originally 
from  types  on  black-figured  ware  has  already  been  brought  out  in  the 
preceding  discussion,  and  it  is  only  necessary  to  summarize  the  results. 
Class  I  is  intermediate  between  the  outline  and  the  black-figured  tech- 
niques; the  cock-fight,  the  hunting  scene,  the  falling  warrior,  the  man 
on  horseback,  are  all  scenes  the  origin  of  which  can  be  traced  to  the 
earlier  technique.  The  hydrophoria  scenes  are  characteristic  of  black- 
figured  hydriae,  and  the  warrior  putting  on  greaves  is  a  figure  found 
on  both  black-figured  and  red-figured  kylikes.  Herakles  and  the 
lion  recur  again  and  again  on  the  outside  of  the  kylix  or  on  the 
shoulder  of  the  hydria  of  black-figured  ware;  and  heroes  casting  lots 
are  found  on  black-figured  lekythoi  and  kylikes.  In  the  interior  of 
a  few  later  black-figured  kylikes  l  we  find  also  the  familiar  advanc- 

1  E.g.  Brit.  Mm.  Cat.  f*ui,  II,  B  439,  440,  450. 


n6  ATHENIAN   WHITE   LEKYTHOI 

ing  figure  which  is  drawn  on  so  many  of  the  smaller  outline  lekythoi. 
It  will  be  noted  that  it  is  the  kylix  more  than  any  other  one  type  of 
black-figured  vase  which  furnishes  scenes  for  these  lekythoi. 

The  dependence  of  this  technique  on  the  black-figured  technique 
has  also  been  emphasized  in  the  preceding  discussion.1  The  outline 
painter  still  makes  large  use  of  silhouette,  and  in  a  few  instances  the 
details  on  the  solid  black  are  incised  instead  of  being  added  in  paint. 
The  use  of  purple  applied  on  black  is  a  distinctive  feature  of  the  earlier 
technique  which  is  still  quite  common.  Finally,  the  outline  lekythoi  of 
this  group  are  found  in  the  same  range  of  localities  as  vases  of  the  later 
black-figured  technique. 

The  connections  which  have  been  traced  between  these  lekythoi 
and  vases  in  the  earlier  technique  mark  them  as  a  sort  of  intermediate 
class,  but  they  are  much  more  closely  related  to  the  red-figured  vases. 
The  use  of  the  line  instead  of  the  surface  for  decorative  purposes  is 
characteristic  of  the  red-figured  ware;  to  give  up  black  surfaces  en- 
tirely is  but  a  step  farther  in  the  same  direction.  It  seems  quite  probable 
that  this  step  was  taken  by  those  accustomed  to  make  red-figured  vases. 
This  is  probable  because  exactly  the  same  shapes  and  decorations  ap- 
pear in  outline  and  red-figured  lekythoi,  because  even  such  details  of 
technique  as  the  preliminary  sketch  with  a  dull  point  are  found  in  both, 
and  because,  as  we  have  seen,  there  are  several  pairs  of  vases,  one  in  each 
technique,  so  much  alike  that  both  members  of  each  pair  probably 
came  from  the  same  hand.  The  flying  Nike  or  Eros  is  as  common 
in  one  technique  as  in  the  other,  and  a  woman  approaching  an  altar, 
or  a  figure  running  and  looking  back,  is  characteristic  of  red-figured 
lekythoi  also. 

A  particular  interest  attaches  to  the  relation  between  these  white 
lekythoi  and  the  red-figured  kylikes.  It  has  already  been  pointed  out 
that  much  the  same  conditions  prevail  on  lekythoi  and  in  the  interior 
of  kylikes,  and  that  scenes  on  the  former  were  influenced  by  the  de- 
vices of  the  kylix  painter.  Moreover,  the  series  of  kylikes  is  better 
known  and  affords  a  better  standard  of  comparison  than  any  other 
series  which  could  be  chosen.  On  two  vases  of  Class  II  (nos.  3  and  4) 
the  profile  is  of  the  same  type  as  on  some  of  the  earlier  red-figured 
kylikes,  e.g.  some  specimens  by  Chachrylion;  the  spray  with  scroll  and 
palmette  which  is  rather  frequent  in  Classes  I  and  II  was  also  used  by 
Chachrylion.  One  of  the  earlier  vases  of  Class  III  (no.  3)  stands  quite 
by  itself,  and  recalls  many  features  of  the  work  of  Phintias.  On  this 

1  Cp.  p.  56,  57,  72,  supra. 


CONCLUSION  OF  GROUP  A  117 

lekythos  and  on  no.  4  of  the  same  class  the  long  toe  and  finger  joints 
are  in  the  earlier  manner  of  Euphronios.  Very  few  of  these  lekythoi, 
however,  suggest  anything  earlier  than  the  style  of  Douris.  The  small 
head,  the  eye  with  dotted  pupil  near  the  inner  angle,  the  treatment  of 
the  hair,  and  in  one  instance  the  use  of  thin  glaze  dots  on  the  garment, 
show  the  influence  of  this  painter.1  If  the  vase  published  in  the 
'Et^Tj/xf/ats  d/>xcuo\oyivi7  (1886,  pi.  iv)  with  the  name  Douris  is 
indeed  from  the  hand  of  this  painter,  the  youth  with  spears  (Class 
II,  17)  deserves  special  mention  in  this  connection.  One  of  the  most 
careful  vases  of  Class  II  (no.  16)  has  been  compared  with  the  "  Amasis" 
vases  figured  by  Hartwig;  whether  or  not  it  is  from  the  hand  of  Amasis 
or  some  pupil  of  his,  it  certainly  belongs  to  the  same  period.  The 
characteristic  maeander  over  the  scenes  of  these  lekythoi,  i.e.  the  rather 
simple  maeander  in  sets  of  two,  separated  by  horizontal  crosses  in  a 
square,  is  the  form  of  ornament  around  the  interior  scene  on  ky likes 
of  this  period.  That  type  of  profile  and  drawing,  however,  which 
appears  most  frequently  on  lekythoi  of  this  group,  is  associated  with 
the  name  of  Hieron.  The  long  straight  nose,  full  lower  lip,  and  round 
chin,  as  well  as  the  line  marking  the  woman's  breast  as  if  it  could  be 
seen  through  a  transparent  garment,  —  these  are  common  enough  on 
these  lekythoi,  so  that  they  may  be  said  to  be  characteristic  of  the 
group  as  a  whole. 

Two  points  are  clear  from  the  above  discussion :  (a)  the  lekythoi  of 
Group  A  belong  in  general  to  the  same  period  as  the  red-figured  ky- 
likes  in  the  "later  severe"  style;  and  (6)  these  lekythoi  stand  under  the 
influence  of  the  great  kylix  painters  more  than  perhaps  any  other  kind 
of  vases.  At  the  same  time  the  work  on  them  is  so  careless  and  so 
lacking  in  originality  that  the  study  of  them  adds  very  little  to  our 
knowledge  of  the  development  of  the  ceramic  art  in  this  period. 

3.  Use,  duration  of  manufacture,  range  of  export.  --The  scenes 
depicted  on  the  lekythoi  of  this  group  afford  little  or  no  clew  to  the  use 
for  which  they  were  made.  Most  of  the  scenes  are  such  as  appear  on 
all  classes  of  vases,  except  that  the  use  of  a  single  figure  instead  of  a 
group  of  figures  first  becomes  common  on  these  lekythoi.  The  scenes 
from  the  domestic  life  of  women  and  from  the  burial  of  the  dead  do, 
however,  stand  somewhat  by  themselves  in  that  they  show  some  slight 
degree  of  originality  and  in  that  they  appear  on  these  lekythoi  quite  as 
early  as  on  any  class  of  vases.  Even  apart  from  the  fact  that  these 
scenes  soon  supplant  all  others  on  later  groups  of  lekythoi,  we  might 

*  Cp.  Class  II,  nos.  17,  11-13  i  &***  III,  no*,  a,  47~5»- 


ii8  ATHENIAN  WHITE   LEKYTHOI 

reasonably  infer  that  they  suggest  the  uses  to  which  these  lekythoi  were 
put.  The  shape  indicates  that  they  were  vases  for  perfumes  and  un- 
guents and  that  they  were  made  to  stand  on  tables  or  shelves  rather  than 
to  be  carried  about.  Combining  the  data  from  these  sources  with  the 
literary  evidence,  we  may  assert  that  they  were  perfume  vases  used  first 
in  the  domestic  life  of  women,  and  then  in  connection  with  funerals. 
That  for  daily  use  the  lower  aryballic  shape  and  the  more  stable  red- 
figured  vases  should  supplant  the  slender  vases  with  more  friable  sur- 
face is  only  what  would  be  expected.  The  lekythos  becomes  a  funeral 
vase,  but  the  lekythoi  of  this  group  are  simply  perfume  vases. 

Duration.  —  A  comparison  of  these  lekythoi  with  other  classes  of 
vases  has  made  it  reasonably  certain  that  this  technique  came  into  use 
early  in  the  fifth  century  B.C.,  although  most  of  our  specimens  date 
from  about  470-460  B.C.  The  questions  in  regard  to  the  origin  of  the 
technique  have  been  discussed  above.  Its  disappearance  is  easily 
accounted  for.  In  the  first  place,  the  use  of  enamel-white  for  women's 
flesh  was  a  device  which  became  popular  as  soon  as  it  was  tried,  and 
the  careful  relief  lines  were  no  longer  attempted.  Then  the  discovery 
of  a  means  of  producing  a  fine  white  slip  was  the  occasion  of  farther 
changes  in  technique,  and  the  hard  yellow  slip  of  Group  A  finally 
disappeared  entirely.  The  fine  relief  lines  of  this  group  belong  properly 
to  the  red-figured  technique,  and  with  the  attempt  for  a  more  pictur- 
esque treatment  in  the  two  following  groups,  accompanied  as  it  was  by 
the  differentiation  of  outline  painting  from  red-figured  painting,  the 
use  of  these  lines  also  disappeared  once  for  all  in  the  case  of  vases  with 
a  white  surface.  Perhaps  the  more  friable  surface  of  the  later  white 
slip  made  them  more  difficult  to  produce,  while  at  the  same  time  they 
were  less  adapted  to  the  purpose  of  these  artists.  A  comparison  of 
vases  with  black  (not  relief)  lines  in  Group  C  with  vases  on  which  the 
lines  are  in  thin  glaze  will  show,  I  think,  that  the  artist  was  right  in 
discarding  the  use  of  black  lines.  It  is  possible  that  a  very  few  vases 
in  this  group  should  be  dated  after  the  middle  of  the  fifth  century, 
but  these  are  isolated  specimens  which  were  produced  in  shops  with  the 
red-figured  ware,  when  the  white  lekythoi  proper  were  being  made  by 
artists  who  devoted  themselves  to  the  manufacture  of  vases  in  that 
technique. 

Range  of  Export.  —  Lekythoi  of  Group  A  are  found  wherever  late 
black-figured  and  early  red-figured  vases  are  found.  They  are  most 
common  in  Attica  and  Eretria;  they  also  occur  in  Boeotia,  Salamis, 
Cyprus,  southern  Italy,  and  Sicily.  Local  conditions  in  Eretria  may 


CONCLUSION  OF  GROUP  A  119 

account  for  the  preservation  of  an  unusually  large  number  of  those 
which  were  imported  there,  or  perhaps  the  manufacture  of  white  leky- 
thoi  in  Eretria  was  undertaken  in  order  to  meet  the  local  demand.  In 
Italy  these  vases  do  not  seem  to  have  met  with  popular  favor,  but  iso- 
lated specimens  are  found  in  widely  separated  localities.  In  Sicily, 
however,  they  found  a  ready  market,  and  a  considerable  number  are 
preserved  in  Sicilian  museums. 


GROUP  B:  CLASS  IV.  LEKYTHOI  ON  WHICH  ENAMEL-WHITE  IS  USED 
FOR'WOMEN'S  FLESH  OR  SOME  ACCESSORY;  SLIP  BROWNISH 

The  second  group  of  outline  lekythoi  is  marked  by  the  use  of  an 
enamel-white  paint  for  the  flesh  of  women  and  occasionally  for  some 
accessory.1  As  domestic  scenes  from  the  life  of  women  predominate, 
it  is  usually  very  easy  to  determine  the  lekythoi  which  belong  to  this 
class;  a  few  lekythoi  have  been  included  here  where  there  is  no  occasion 
for  the  use  of  enamel-white,  and  on  which  it  does  not  occur.  In  the 
case  of  these  some  doubt  might  arise  as  to  whether  they  have  been 
properly  classified,  but  the  number  of  these  vases  is  small  and  the 
character  of  the  drawing  is  such  as  to  lead  me  to  discuss  them  under 
this  heading.  On  most  of  the  lekythoi  of  this  group  the  slip  is  quite 
brown,  rather  darker  than  is  the  case  on  the  lekythoi  already  discussed; 
the  outlines  are  drawn  in  rather  coarse  lines  of  glaze  that  has  been 
slightly  thinned;  and  on  the  enamel-white  details  are  added  in  a  thin 
yellow  glaze.  With  one  exception  the  neck  is  covered  with  black  glaze; 
no  ornament  except  the  maeander  is  placed  above  the  scene  ;  most 
of  the  vases  are  about  0.30111.  in  height,  and  the  general  shape  is  ap- 
proximately that  of  the  finer  large  specimens  of  Group  A. 

Except  where  the  contrary  is  expressly  noted  in  the  descriptions 
which  follow,  the  typical  treatment  is  to  be  assumed :  namely,  the 
black  neck,  brownish  yellow  slip,  drawing  in  coarse  lines  of  brown 
glaze,  and  enamel-white  for  the  flesh  of  women.  The  typical  shoulder 
ornament  (except  in  series  2)  consists  of  five  palmettes  arranged  as  in 
the  later  fine  black-figured  lekythoi  with  white  slip;  this  is  alluded  to 
as  typical  in  the  descriptions.  The  three  series  in  the  present  class 
are  determined  by  the  color  of  the  shoulder. 

Series  I.   The  shoulder  is  red,  and  the  ornament  black. 

Series  2.  The  ornament  is  left  red,  and  the  rest  of  the  shoulder  is 
black. 

Series  3.  The  shoulder  has  the  white  slip,  and  the  ornament  is  in 
black  glaze. 

1  Cp.  the  discussion  by  Weisshaupl,  Atb.  Mittb.  XV,  40  f.,  and  by  Bosanquet,  Jour.  Hell.  Stud. 
1896,  167  f. 

1 2O 


GROUP  B:  CLASS  IV,  i,  1-3  121 

Series   I.     Lekythot  of  Class  lVy  with   ornament   in  black  outline  on 

a  red  shoulder 

1.  Athens,  Nat.  Mus.  1887,  Cv.  1640.     H.  0.17  m. 

Neck  and  shoulder  red;  the  shoulder  is  ornamented  with  two  rows  of  bars.  Maeander 
of  the  simplest  type.  Below  the  scene  the  slip  is  bounded  by  a  narrow  line  of  glaze,  then 
a  wider  line  left  red.  The  shape  of  the  body  is  not  cylindrical,  but  it  retreats  slightly 
from  the  shoulder.  The  drawing  is  careless.  No  other  color  is  used  except  enamel 
white  for  the  woman's  flesh. 

By  a  Doric  pillar  stands  a  woman  wearing  two  garments  drawn  in  outline.  She  holds 
a  thread  to  which  is  attached  a  weight  (such  as  was  used  in  spinning  ?).  The  eye  is  of  a 
good  profile  type.  Inscription  KAVV. 

This  lekythos  is  unique,  in  that  it  is  the  only  one  known  to  me  on 
which  the  characteristics  of  Group  B  are  combined  with  the  red  neck 
and  shoulder  ornament  of  earlier  small  lekythoi.  The  pillar  also  re- 
calls the  lekythoi  of  Group  A  on  which  the  scene  consists  only  of  a  large 
head  framed  in  by  pillars.  On  the  present  vase  the  drawing  is  careless, 
and  it  only  has  interest  as  a  link  between  this  class  and  preceding  classes. 
It  is  noticeable  that  even  on  this  intermediate  vase  the  scene  is  taken 
from  the  domestic  life  of  women. 

2.  Louvre  CA  9.     H.  0.26  m.     Pettier,  Lecythes  blancs,  p.    154, 
no.  96. 

The  palmettes  on  the  shoulder  are  rather  rude;  the  maeander  above  the  scene  is  not 
simple,  and  a  horizontal  cross  breaks  it  into  groups  of  three.  Foot  of  the  type  which  later 
becomes  typical.  The  glaze  lines  of  the  outline  are  rather  fine.  The  slip  is  now  quite 
brown.  Pink,  a  purplish  brown,  and  purple  occur.  There  are  traces  of  a  preliminary 
sketch  in  the  soft  clay. 

At  the  right  is  a  slender  Doric  pillar  in  flesh  color;  glaze  is  used  to  bound  the  outline 
and  to  give  the  details.  Before  it  an  ephebos  stands  squarely  on  both  feet  facing  to  the 
left.  The  body  is  in  three-quarters  profile.  His  petasos  and  chlamys  are  tinted  brown, 
with  a  darker  maroon  color  for  details,  and  a  ribbon  of  purple  holds  on  the  petasos.  In 
his  right  hand  are  two  spears,  the  sword  case  shows  below  the  chlamys,  and  the  sandals 
are  laced  up  to  the  knees.  The  pointed  nose  and  full  lower  lip  are  noticeable;  the  curl 
in  front  of  the  ear,  also,  is  rather  carefully  drawn. 

This  vase  is  interesting  only  in  its  relation  to  the  one  next  to  be  de- 
scribed. This  scene,  an  ephebos  in  armor,  has  been  found  on  lekythoi 
of  the  preceding  group;  it  is  found  more  often  on  amphorae  of  aslightlv 
later  period  than  on  any  lekythoi. 

3.  Athens,  Nat.  Mus.  1968,  Cv.  1625.     Eretria.     H.  0.293  m-J  Cir. 
0.305  m.    AcXriO!/,  1899,  99,  no.  3.     Amer.Jour.  Arch.  1902,  p.  410  f. 
(Fig-  32.) 


122 


ATHENIAN   WHITE   LEKYTHOI 


Where  the  red  surface  of  the  clay  is  exposed  it  seems  to  have  been  treated  with  a 
transparent  glaze.  The  shoulder  has  only  three  palmettes,  each  with  nine  leaves.  The  slip 
is  thin  and  smooth,  greenish  yellow.  Maeander  broken  by  horizontal  crosses  as  on  the  last 
specimen.  Flesh  pink,  garment  light  red.  Traces  of  a  preliminary  sketch  with  dull 
point  in  the  soft  surface. 

Athena  stands,  body  en  face,  head  and  left  foot  to  right,  and  leans  on  the  spear  in 
her  left  hand.  Her  head  is  bowed,  and  her  right  hand  rests  on  her  hip.  She  wears  a 

Doric  chiton  with  free  overfold,  the  light  red  of  which  is 
applied  over  a  few  folds  indicated  in  glaze;  over  both 
shoulders  is  an  aegis  of  the  collar  type  fringed  with  ser- 
pents. The  hair  falls  free  behind,  and  is  held  about 
the  head  by  a  wide  red  taenia.  The  ear  is  reversed, 
the  left  shoulder  does  not  connect  with  the  neck,  and  at 
other  points  the  drawing  is  careless.  Behind  Athena  is 
an  unfluted  column. 


The  peculiarity  of  the  present  vase  lies 
in  the  fact  that  a  flesh  pink,  not  an  enamel- 
white,  is  applied  for  the  woman's  flesh. 
This  might  easily  arouse  suspicion  as  to  the 
genuineness  of  the  vase,  although  there  is 
nothing  in  the  circumstances  under  which 
the  vase  was  procured  for  the  Museum  to 
confirm  this  suspicion.1  The  points  of  like- 
ness between  this  and  the  preceding  vase  in 
Paris  are  sufficient  to  relieve  its  complete 
isolation:  the  ornamentation  of  the  two 
lekythoi  is  practically  the  same;  the  same 
flesh  pink  occurs  on  the  Paris  vase;  more- 
over the  schema  of  the  scene  —  a  figure 
standing  before  a  pillar  —  and  the  general 
character  of  the  drawing  are  very  similar. 
The  very  carelessness  of  the  drawing  is  not 
such  as  would  be  likely  to  occur  on  a  modern 
imitation  of  ancient  ware. 

A  pillar  on  vases  of  the  fifth  century  is 
occasionally  used  to  represent  a  house,  but 

usually,  as  on  a  lekythos  already  described  (II,  4),  it  denotes  a  temple. 

We  have,  then,  Athena  standing  before  a  temple  and  looking  down  at 

her  worshippers. 

1  M.  Tsountas,  ephor  of  antiquities  at  Athens,  very  kindly  responded  to  my  inquiries  about  this  vase  with 
the  statement  that  the  date  of  its  discovery  is  not  known  ;  "  the  only  fact  obtainable  is  that  it  came  from 
a  grave  on  the  estate  of  one  Nostraki,  who  dug  by  the  permission  of  the  authorities." 


FlG.  .32  (no.  3). 


GROUP  B:  CLASS  IV,   i,  4  123 

In  another  connection  I  have  tried  to  bring  this  lekythos  into  rela- 
tion with  a  well-known  relief,  the  so-called  "Mourning  Athena"  re- 
lief.1 Comparing  this  Athena  with  the  Athena  on  the  relief,  we  may 
note  that  the  attitude  is  much  the  same,  although  the  feet  and  legs  are 
treated  differently;  this  mode  of  drawing  the  lower  part  of  the  figure  is, 
however,  just  what  might  be  expected  of  a  lekythos  painter  who  was 
reproducing  freely  a  figure  with  which  he  was  familiar.2  The  garment 
and  the  hair  also  are  unlike  those  on  the  relief,  but  again  these  follow 
types  with  which  the  vase  painter  was  familiar.  With  the  exception  of 
the  position  of  the  spear  the  differences  between  vase  and  relief  are  what 
one  would  expect  when  the  vase  painter  drew  his  inspiration  from  a 
statue  or  relief;  the  position  of  the  spear  on  the  relief  is  due,  in  my 
opinion,  to  the  fact  that  the  sculptor  of  the  relief  represented  an  erect 
statue  as  bending  over,  and  used  the  spear  as  a  support  for  the  figure. 
I  do  not  mean  to  suggest  that  the  vase  painter  drew  his  inspiration  from 
this  relief;  apart  from  the  fact  that  a  vase  painter  would  not  be  likely 
to  reproduce  the  scene  of  a  relief  then  insignificant,  it  seems  to  me 
probable  that  the  vase  is  older  than  the  relief.  Nor  would  it  be  easy  to 
account  for  the  adaptation  of  the  relief  figure  so  as  to  get  from  it  the 
Athena  on  our  lekythos.  If,  then,  there  is  any  connection  between 
the  lekythos  and  the  relief,  it  is  due  to  the  fact  that  the  makers  of  both 
were  freely  reproducing  some  well-known  Athena  statue.  The  leky- 
thos, as  will  appear  from  the  later  discussion  of  this  group  of  lekythoi, 
is  to  be  dated  not  far  from  the  middle  of  the  fifth  century  B.C.,  and  the 
statue  which  suggested  the  relief  cannot  long  precede  this  date.  The 
column  on  the  lekythos  suggests  that  we  are  dealing  with  a  temple 
statue;  the  bowed  head,  the  right  hand  on  the  hip,  and  the  left  hand 
holding  the  spear  would  comprise  all  the  data  which  the  lekythos 
gives  for  the  recognition  of  the  statue.3 

4.  Athens,  Nat.  Mus.  1996,  Cv.  1650.  Eretria.  Height  of  shoulder 
0.16  m. 

Neck  and  foot  missing.  Palmettes  typical;  complex  maeander  broken  by  horizontal 
crosses.  Solid  black  is  used  only  for  accessories. 

A  woman  (three-quarters  front  view)  moves  to  right,  looks  back,  and  holds  behind 
her  a  black  phiale;  in  her  left  hand  she  holds  out  a  black  oinochoe.  She  wears  a  sleeve 
chiton  and  himation,  both  in  outline;  her  hair  is  in  a  knot  behind  her  head. 

1  Amer.  Jour.  Arcb.   1902,  p.  410  f. 

2  Compare  the  lekytho*  at  Athens,  Nat.   Mus.    1825,  discussed   below  under  series  3,  no.   21  ;   and 
no.    14  of  series   i. 

•  Ldschcke  (Atb.  Mittb.  1880,  p.  380)  has  pointed  out  another  specimen  of  ware  with  white  slip 
on  which  it  is  probable  that  a  statue  is  represented. 


i24  ATHENIAN   WHITE    LEKYTHOI 

This  is  exactly  the  same  figure,  the  woman  advancing  and  looking 
back,  which  occurred  more  frequently  than  any  other  one  scene  on 
lekythoi  of  Class  III,  and  on  corresponding  red-figured  lekythoi.  Even 
the  suggestion  of  religious  meaning  by  means  of  oinochoe  and  phiale  is 
given  in  the  same  manner  on  the  previous  series  of  lekythoi.  There  is, 
however,  one  characteristic  feature  of  the  drawing;  the  sweeping  fold 
of  the  skirt  of  the  garment  may  be  described  as  a  mannerism  of  the 
painters  of  this  class  of  lekythoi.  When.it  first  appears  it  is  the  one 
bit  of  originality  in  the  work  of  men  who  were  closely  following  the 
models  which  had  been  set  for  their  work. 

5.  Syracuse,  21146  (L  19).     Capo  soprano.     H.  about  0.32  m. 

On  the  shoulder  five  rather  rude  palmettes.  Slip  brown;  above  the  scene  a  maeander 
in  sets  of  three,  separated  by  horizontal  crosses.  Preliminary  sketch  with  a  dull  point. 
The  coarse  lines  of  the  drawing  vary  from  brown  to  black.  One  garment  is  black  with 
added  white  crosses,  the  other  light  brown  with  darker  fold-lines. 

A  woman  hastens  toward  the  left  and  looks  back;  in  her  right  hand  is  a  black  kalpis, 
in  her  left  a  white  phiale.  The  black  sleeve  chiton  is  kicked  up  behind  by  her  foot;  over 
this  a  short  brown  himation  is  loosely  draped;  the  hair  is  loosely  drawn  back  and  twisted 
in  a  round  knot,  which  is  supported  by  a  taenia.  Behind  her  in  the  field  is  draped  a 

,         '       .    EVA  ION 
white  scarf,     below  it   ,,  .  .  ~ .,  . 
KA  VO> 

Other  vases  with  the  name  Euaion  are  discussed  by  Klein  (Vasen 
mit  Liebhngsinschriften,  S.  131  f.);  the  lekythos  under  series  3,  no.  3, 
has  the  same  white  taenia  draped  in  the  field  behind  the  woman,  but 
the  archaic  schema  of  the  woman  advancing  and  looking  back  is 
abandoned. 

6.  Syracuse,  2289.    Camarina.     H.  0.30  m. 

Five  rude  palmettes  on  the  shoulder  and  maeander  broken  by  horizontal  crosses  as 
on  the  last  specimen. 

A  Bacchante  with  thyrsos  hastens  toward  the  right  and  looks  back.  She  wears  a 
chiton  and  a  short  himation;  her  hair  is  in  a  flat  knot  at  the  back  of  her  head.  In  the 
field  behind  her  is  draped  a  scarf. 

7.  London,  Brit.  Mus.     H.  10  in. 

On  the  shoulder  five  palmettes  with  many  leaves  (no  dots).  The  maeander  is  broken 
by  horizontal  crosses.  The  thick  slip  is  a  slightly  reddish  brown.  The  garment  is 
brown  with  darker  brown  fold-lines  and  narrow  red  border. 

A  bearded  Hermes  hastens  toward  the  left  and  looks  back;  his  right  hand  is  extended 
in  front  of  him,  and  in  his  left  is  the  kerykeion.  He  wears  a  long  chlamys,  a  petasos  hang- 
ing by  its  string,  and  winged  shoes;  his  long  hair  is  in  a  small  knot  at  the  back  of  his  head. 
Inscription  KAVO£. 


GROUP  B:  CLASS  IV,  i,  5-9  125 

8.  Athens,  Nat.  Mus.  1869,  Cv.  1044.     H.  0.28  m. 

The  usual  palmettes,  without  the  added  row  of  bars  above;  simple  maeander  with 
rude  horizontal  crosses.  No  solid  color.  The  drawing  is  very  careless. 

A  woman  in  the  typical  two  garments  moves  to  right,  carrying  in  her  right  hand  an 
object  like  a  small  shield  (a  cymbal  or  a  phiale  ?).  Behind  her  is  an  altar  with  a  taenia. 

While  the  presence  of  the  altar  marks  this  as  one  of  the  scenes  which 
was  originally  religious  in  meaning,  it  is  useless  to  look  for  any  particu- 
lar meaning  here.  It  becomes  evident  as  the  vases  of  this  series  are 
examined  that  the  painters  are  simply  reproducing  scenes  which  had 
been  already  worked  out  as  suitable  for  this  type  of  lekythos,  and  there 
is  even  less  trace  of  originality  than  in  lekythoi  of  Group  A.  In  other 
words,  the  altar  here  is  put  in  just  to  fill  up  the  space,  and  the  reason 
why  it  is  selected  rather  than  some  other  object,  is  that  it  was  once  an 
integral  part  of  a  scene  with  definite  religious  content.  Of  the  seven 
lekythoi  already  considered  only  one  shows  a  garment  in  solid  black, 
and  generally  the  garments  are  in  outline.  It  would  seem  that  there 
was  a  brief  period,  or  more  probably  a  passing  fashion,  in  which  sil- 
houette effects  were  discarded  temporarily  and  the  simple  outline  treat- 
ment was  preferred.  It  may  have  been  the  introduction  of  dull  colors 
which  helped  to  end  this  fashion,  and  in  later  members  of  this  class  the 
artist  had  his  choice  between  dull  color  or  black  glaze  for  garments. 

9.  Athens,  Nat.  Mus.    1804   (Coll.  396),  Cv.   1627.     Eretria.     H. 
0.213  m.     Atb.  Mitth.  XV,  55,  no.  n. 

On  the  shoulder  the  usual  palmettes  with  dots  added  between.  Above  the  scene  a 
simple  maeander;  below  it  are  two  purple  lines  on  black,  as  in  Class  II.  Drawn  in  thin 
glaze;  garment  brick-red  with  black  fold-lines.  The  drawing  is  careless. 

Nike  stands  holding  two  burning  torches  over  an  altar  with  flame.  She  wears  a 
chiton  with  sleeves,  and  a  fold  hangs  over  the  girdle.  Eye  archaic. 

The  archaic  eye  and  the  use  of  purple  lines  below  the  scene  mark 
this  vase  as  one  of  the  earliest  in  this  class.  The  brick-red  color  of 
the  garment  is  an  experiment  which  was  not  often  repeated;  on  the 
other  hand  the  use  of  dull  black  for  the  folds  of  the  garment,  of  which 
this  is  one  of  the  earliest  examples,  continues  through  this  and  the  fol- 
lowing group.  The  scene  has  already  been  discussed  under  Group  A 
(p.  41  f.);  Nike  as  an  attendant  at  a  sacrifice  is  no  unusual  figure  on 
red-figured  ware.  It  is  worth  noting  that  almost  exactly  this  same 
scene,  Nike  with  torches  before  an  altar  with  flame,  recurs  on  a  number 
of  red-figured  lekythoi,  some  of  which,  to  say  the  least,  should  be 
regarded  as  older  than  the  present  specimen.1 

1  Cp.  Brit.  Mut.  Cat.  f^aies,  III,  £582;   Athens,  Nat.  Mm.  1313,  1508. 


126 


ATHENIAN   WHITE   LEKYTHOI 


10.    Athens,  Nat.  Mus.  1921,  Cv.  1649.   Attica.    H.  0.22  m. 

1890,  7,  no.  6.     (Fig.  33.) 

Palmettes  typical,  with  added  dots.  Maeander  unbroken.  Accessories  in  black, 
garment  dull  pink. 

Nike  flies  to  right,  with  phiale  in  her  left  hand  and  oinochoe  in  her  right.  In  front  of 
her  is  a  scroll.  She  wears  sleeve  chiton  (in  outline,  no  folds),  and  himation  in  dull  pink 

with  fold-lines  of  a  darker  color. 

Both  the  flying  figure  and  the  scroll  in 
front  of  it  have  occurred  somewhat  fre- 
quently on  lekythoi  of  Group  A,  and  that 
not  on  the  latest  members  of  the  group. 
In  the  present  instance  it  would  seem  that 
the  figure  is  copied  in  a  somewhat  mechani- 
cal manner;  it  is  altogether  too  large  for 
the  field  which  it  is  to  occupy,  as  though 
the  artist  had  taken  it  from  a  larger  vase 
without  knowing  how  to  reduce  it  to  the 
proportions  of  the  vase  on  which  he  was 
working.  The  scroll  also  is  considerably 
larger  than  is  usual  on  vases  of  the  earlier 
group.  At  the  same  time  the  artist  shows 
some  attention  to  details,  and  the  oinochoe, 
for  instance,  and  the  wings  of  the  figure, 
are  drawn  with  care.  It  is  evident  again 
that  the  artist  is  working  from  lekythos 
models,  instead  of  adapting  his  figure  from 
more  complex  scenes. 

n.  London,  Brit.  Mus.  D  24.  Locri. 
H.  II  in.  White  Ath.  Vases,  pi.  xxiii  B. 

Palmettes  typical,  with  added  dots.     Maeander  in 
sets  of  two,  separated  by  horizontal  crosses.      The  slip 
is  almost  shiny,  and  perhaps  has  been  treated  with  a 
FIG.  33  (no.  10).  transparent   glaze.     Traces    of    a   preliminary  sketch. 

Below  the  scene  are  two  purple  lines.     Solid  black  is 

used  for  accessories;  the  lower  part  of  the  chiton  is  purple,  the  himation  is  pink 
with  brown  fold-lines;  the  flame  on  the  altar  is  black  and  red.  Inner  angle  of  the  eye 
slightly  open.  The  vase  is  handled  by  the  artist  with  more  care  than  usual  for  these  leky- 
thoi. 

Nike  stands  with  wings  raised  holding  a  wreath  above  an  altar  on  which  a  flame 
is  burning.  She  is  drawn  in  profile  and  stands  squarely  on  both  feet.  The  wings  are 
small,  and  are  attached  irrespective  of  the  garments.  Her  hair  is  held  by  an  ornamented 


GROUP  B:  CLASS  IV,  i,  10-12  127 

band,  which  supports  a  roll  at  the  back  of  the  head.  The  usual  two  garments  are  drawn 
with  some  freedom;  on  the  right  arm  is  a  bracelet.  The  first  two  letters  of  a  kalos  in- 
scription remain 

With  all  the  care  the  painter  has  taken  for  this  figure,  the  garment 
does  not  fit  over  the  left  shoulder,  the  wings  are  out  of  proportion  to 
the  size  of  the  person,  the  figure  leans  forward  so  as  to  require  some 
support  from  the  wings,  and  the  profile  and  upper  part  of  the  head  are 
unique.  Nike  before  an  altar  is  represented  on  red-figured  lekythoi 
even  more  frequently  than  on  the  outline  lekythoi.  On  a  vase  of  some 
other  shape  she  is  represented  in  this  same  manner  holding  a  wreath 
over  an  altar  (without  flame).1 

12.  London,  Brit.  Mus.  D  25.  H.  12%  in.  Brit.  Mus.  Cat.  Vases  > 
III,  pi.  xxiii. 

Palmettes  typical.  Above  the  scene  a  short  closed  strip  of  maeander  with  two  hori- 
zontal crosses.  Preliminary  sketch  with  dull  point  in  the  soft  clay.  Accessories  in  black. 
Himation  and  phiale  dull  pink  (mauve)  with  brown  fold-lines.  Eye  in  full  profile. 

A  bearded  man  leans  forward  on  his  staff,  and  holds  a  phiale  in  his  right  hand 
over  an  altar  on  which  a  flame  burns.  A  wreath  of  large  leaves  on  his  head  is  left  the 
color  of  the  slip.  His  himation  is  wrapped  loosely  around  him  and  kept  in  place  by  the 
staff;  in  the  lowered  left  hand  is  a  branch  of  myrtle.  The  altar  (at  the  right)  is  built  of 
large  unhewn  stones,  and  has  two  splashes  of  blood.  Above  it  hang  in  the  field  a  wreath 
and  a  fillet  (or  lock  of  hair). 

Enamel-white  does  not  occur  on  this  lekythos ;  there  is,  however, 
no  opportunity  for  its  use  except  perhaps  on  the  phiale,  and  the  tech- 
nique and  style  of  the  vase  leave  no  doubt  that  it  belongs  here.  This 
figure  of  a  man  resting  on  his  stick  occurs  more  than  once  on  lekythoi 
of  Group  A,2  and  is  part  of  the  material  at  the  command  of  a  painter 
in  this  epoch.  The  altar  of  unhewn  stone  3  is  unusual  in  this  period, 
although  later  a  rude  altar  of  somewhat  this  shape  becomes  very  com- 
mon. The  presence  of  myrtle  branch,  fillet,  and  wreath,  along  with  a 
type  of  altar  which  is  unusual,  would  seem  to  indicate  that  this  scene  is 
not  so  purely  conventional  as  that  on  most  lekythoi  of  this  series.  It 
would  seem  that  the  artist  had  used  a  familiar  figure  for  his  priest, 
and  then  had  taken  the  altar  and  the  details  of  the  scene  either  from 
the  actual  practice  of  worship  or  from  rather  literal  representation  of 
worship.  As  on  the  preceding  lekythos,  the  skill  of  the  painter  is  not 
equal  to  his  carefulness.  The  effort  to  give  the  easy  posture  is  quite 
awkward,  the  folds  of  the  garment  behind  which  should  fall  perpen- 

i  Tischbein,  V,  pi.  xxviii.  «  da»  I,  1-3  ;  CU»  HI,  5,  »3,  4«- 

*Cp.  the  altar  on  the  lekythos,  Berlin,  Furtw.  1151,  CU»  III,  15. 


128 


ATHENIAN   WHITE   LEKYTHOI 


dicularly  stand  stiffly  out,  and  the  eye  is  set  too  far  back  from  the  line 
of  the  profile. 

13.    Wien,  Hofmus.  Inv.  1874.     Eretria.     H.  about  0.25  m.      (Fig. 

34.) 

On  the  shoulder  five  palmettes,  without  scrolls  or  dots.     Slip  yellow;  maeander  simple. 
Drawn  in  coarse  lines  of  rather  thin  glaze.     The  garment  is  pink  with  glaze  folds.     Work 

hasty. 

On  a  diphros  sits  a  bearded 
man  facing  the  left;  his  left 
hand  supports  a  staff  on  his 
shoulder,  and  his  right  hand  is 
extended.  A  himation  is  draped 
around  his  knees  and  over  his 
left  shoulder.  Behind  him  is  a 
square  chest,  nearly  as  large  as  the 
diphros.  Inscription  KAVO^. 

The  drawing  on  this 
vase  is  hasty  and  some- 
what careless;  no  white- 
enamel  paint  is  used,  but 
none  of  the  objects  are 
present  on  which  it  is 
commonly  found.  The 
figure  is  a  good  example 
of  the  method  of  those 
who  painted  the  lekythoi 
of  this  class,  in  that  the 
figure  and  the  box  behind 
it  are  extracted  from  some 


FIG.  34. 


larger  scene,  though  by  themselves  they  have  no  meaning.  The  only 
originality  in  the  present  class  consists  in  the  development  of  domestic 
scenes  and  in  the  occasional  use  of  some  detached  figure  like  this 
seated  man. 

14.  London,  Brit.  Mus.  D  26.  Eretria  9^-  in.  White  Ath. 
Vases,  pi.  xxi  A. 

Palmettes  typical,  careless.  Maeander  broken  by  horizontal  crosses;  below  the 
scene  a  series  of  lines,  purple  on  black.  The  slip  is  slightly  greenish  brown.  Accessories 
in  black;  the  chiton  was  originally  red  (  ?).  A  simple  preliminary  sketch  was  drawn 
with  dull  point  in  the  soft  surface. 

On  a  black  chair  a  woman  sits  facing  the  right,  and  bends  her  head  forward  to  look 
at  a  lekythos  which  she  holds  up  in  her  left  hand ;  she  also  holds  out  a  fruit  (pomegranate) 


GROUP  B:  CLASS  IV,  i,  13-16  129 

in  her  right  hand.  She  wears  chiton  with  large  sleeves,  and  a  himation  is  wrapped  about 
her  knees;  her  hair  is  in  a  mass  at  the  back  of  her  head.  The  figure  is  in  full  profile,  and 
very  carelessly  drawn.  In  the  field  at  the  right  hangs  a  wreath,  at  the  left  the  handle  (of 
a  mirror). 

This  vase  is  ope  of  the  earlier  members  of  a  series  representing  a 
woman  at  home,  seated  in  an  easy  chair.  The  mirror  and  the  wreath 
are  not  yet  meaningless  accessories,  but  mark  the  woman's  apartment; 
the  lekythos  and  the  pomegranate  I  am  inclined  to  regard  as  objects 
belonging  to  such  an  apartment  with  as  yet  no  reference  to  the  prepara- 
tion for  worship  at  the  grave.  Except  as  a  member  of  the  series  the 
vase  is  entirely  devoid  of  interest. 

15.  Palermo  147.     Gela.     H.  about  0.30  m. 

On  the  shoulder  rude  palmettes.  The  slip  is  quite  brown;  across  the  top  is  a  short 
band  of  simple  maeander.  Most  of  the  figure  is  in  medium  lines  of  thin  brown  glaze, 
but  fine  black  relief  lines  are  used  for  the  himation  folds. 

A  woman  stands  en  face  beside  a  stool,  looking  toward  the  left.  In  her  right  hand  she 
holds  out  a  flower,  in  her  left  a  mirror.  The  upper  part  of  the  chiton  is  marked  with 
parallel  lines  of  thin  glaze;  over  it  a  himation  is  loosely  draped.  Inscription  KALE. 

The  combination  of  lines  in  thin  glaze  with  black  relief  lines  has 
been  noted  on  other  lekythoi  found  in  Sicily1  (Class  III,  nos.  79  and  80); 
on  the  later  numbers  of  Class  III  the  same  treatment  of  the  upper 
part  of  the  chiton  is  occasionally  found.  Both  the  black  neck  and  the 
use  of  white-enamel  paint  place  this  lekythos  here  without  question, 
yet  the  influence  of  the  older  technique  is  striking. 

16.  Athens,  Nat.  Mus.  2540,  Cv.  1646.     H.  to  shoulder,  0.17  m. 
Klein,  Lieblingsmschriften,  S.    139,  no.  6. 

Upper  part  missing.  Lines  of  the  drawing  rather  fine.  Black  is  used  for  accessories, 
dull  pink  for  the  garment. 

A  woman  stands  holding  a  kalathos  over  a  low  table  from  which  hang  branches  of 
green  (or  fillets).  She  wears  a  himation  drawn  in  outline  over  a  pink  chiton.  On  the 
upper  part  of  the  chiton  the  fold-lines  are  drawn  in  darker  pink,  on  the  lower  part  in 

KAVOs. 
thin  glaze.     Inscription,  N(^QN 

The  difference  in  the  fold-lines  of  the  upper  and  lower  parts  of  the 
chiton  may  be  explained  by  the  difference  in  the  two  styles  of  painting: 
on  earlier  vases  fold-lines  in  glaze  were  usually  added  only  to  the 
lower  part  of  the  chiton;  on  vases  with  dull  color  for  garments,  how- 
ever, they  were  also  indicated  on  the  upper  part  of  the  garment.  If  the 
dull  color  were  added  here  by  a  second  hand,  and  this  is  probable, 
the  difference  of  treatment  is  so  much  the  more  easily  understood. 

1  Cp.  also  no.  19  of  the  present  series,  series  i,  no.  13,  and  leria  3,  no.  i  f. 


i3o  ATHENIAN  WHITE   LEKYTHOI 

17.  London,  Brit.  Mus.  D  21.      Eretria.    H.   12^  in.    White   Ath. 
Vases,  pi.  viii. 

Palmettes  typical,  not  very  careful.  Maeander  unbroken,  except  by  the  helmet  of  the 
warrior.  Drawn  in  fine  black  lines;  the  beard  is  in  thin  yellow  glaze,  and  the  hair  on  the 
body  in  thin  brown  glaze.  Accessories  in  black;  the  crest  of  the  helmet  is  enamel-white 
in  brown  outline.  Eye  in  profile.  The  preliminary  sketch  shows  the  left  foot  drawn 
back  as  though  the  figure  were  running  rather  than  walking.  Below  the  scene  are  two 
purple  lines. 

A  bearded  warrior  strides  to  right,  a  shield  on  extended  left  arm,  spear  lowered  in 
right  hand.  The  body  is  full  en  face,  feet  and  head  to  right.  He  wears  helmet  with 
cheek  pieces,  a  mantle  falling  over  the  shoulders  loosely,  and  endromides.  Brown  mark- 
ings indicate  hair  down  the  centre  of  the  torso.  Above  the  shield  is  written  KAA05. 

The  treatment  of  the  hair  on  the  torso  is  quite  in  the  manner  of 
Brygos,  but  the  drawing  shows  the  freedom  of  a  later  period.  Parts 
of  the  figure  are  drawn  with  great  care;  the  arms,  however,  the  left 
shoulder,  and  the  very  narrow  hips  mark  the  limitations  of  the  artist. 
The  same  type  of  warrior  occurs  on  a  pelike  in  the  British  Museum  as 
one  of  a  group  of  figures.1  It  is  not  unusual  in  the  case  of  such  a  figure 
for  the  helmet  to  break  the  maeander  over  the  scene.2  Apparently  this 
figure  is  not  copied  from  other  lekythoi,  but,  like  the  scenes  on  leky- 
thoi  of  Class  II,  it  is  taken  out  of  the  fuller  scene  on  another  type  of 
vase;  here,  however,  it  is  from  a  scene  for  an  amphora  or  krater  that  the 
figure  is  taken.  It  should  be  noted  that  not  only  the  thin  brown  for 
curls  of  the  hair,  but  even  the  use  of  enamel-white  for  the  accessories, 
is  found  on  the  pelike  above  referred  to. 

18.  Cyprus.  Jahr.  Arch.  Inst.   1887,  S.   168,  Taf.  xi;    Ath.  Mitth. 
XV,  56,  no.  13. 

Palmettes  typical  but  careless;  maeander  unbroken.  No  black  (except  for  the  hair 
under  the  helmet),  and  no  solid  color  are  used.  Style  free. 

An  Amazon  stands  in  full  profile,  bending  over  her  left  foot,  which  is  placed  on  a 
stone  that  she  may  adjust  her  sandal.  She  wears  a  short  chiton  with  tight  fitting  sleeves, 
and  anaxyndes  which  fit  the  legs  closely;  the  chiton  is  girded  up  so  that  it  hardly  reaches 
below  the  hips.  On  her  head  is  a  leather  helmet  with  cheek  pieces.  Behind  her  in  the 
field  hangs  the  lunate  shield  with  quiver  and  bow. 

With  this  lekythos  Dummler  compares  the  Amazon  vase  published 
by  Winter  (Die  jungeren  attischen  Fasen,  S.  34),  where  also  Attic  war- 
riors are  transformed  into  Amazons.  The  relations  with  Cyprus,  as 
he  farther  points  out,  were  such  that  this  lekythos  was  not  brought 
thither  earlier  than  449  B.C.,  nor  much  later  than  that  date.  This  date, 
depending  on  purely  external  considerations,  corresponds  exactly  with 

1  E  379.  2  cp.  Brit.  Mus.  E  448. 


GROUP  B:  CLASS  IV,  i,  17-19 


the  date  which  would  be  obtained  by  comparing  the  lekythoi  of  this 
series  with  other  classes  of  vases.  A  group  of  Amazons  preparing  for 
battle  are  depicted  on  a  rather  early  red-figured  kylix  in  the  British 
Museum.1  The  present  figure  is  taken  from  such  a  series  in  the  more 
complete  scene.  The  youth  bending  over  to  adjust  his  sandal  on  the 
Parthenon  frieze  is  evidence  that  the  figure  in  this  attitude  was  familiar 
to  painters  in  the  middle  of 
the  fifth  century. 

19.  Wien,  Oest.  Mus. 
1090  (10441).  H.  about 
0.30  m.  (Fig.  35.) 

On  the  shoulder  five  rather 
rude  palmettes.  Above  the  scene 
the  rather  short  maeanderis  broken 
by  two  horizontal  crosses  and  en- 
closed at  the  end.  The  slip  is  quite 
brown.  Black  is  used  for  the 
helmet,  and  black  with  added  de- 
tails in  white  for  the  shield.  Bright 
red  was  used  for  the  chiton  and 
the  belt.  There  are  traces  of  a  pre- 
liminary sketch  with  a  dull  point. 

An  Amazon  is  running  toward 
the  right,  and  raising  her  battle- 
axe  to  strike  some  one  behind  her, 
toward  whom  she  looks.  She  wears 
a  short  chiton  with  loose  skirts 
under  a  cuirass  which  is  orna- 
mented with  armed  figures  on  the 
shoulder  pieces;  there  are  sandals 
on  her  feet,  and  on  her  head  a 
helmet  with  high  crest,  the  head 
piece  black,  the  crest  and  cheek 
pieces  white;  a  little  loose  hair  F,G  ^5  (no.  19). 

appears  in  front  of  her  ear   and 

below   the   helmet.     On   her   left  arm   she  carries  a  crescent-shaped  shield  on  which 
white  lines  show  the  layers  of  leather  ( ?).     Before  her  a  low  plant  is  drawn. 

This  Amazon,  like  the  one  on  the  preceding  vase,  is  drawn  with  con- 
siderable vigor  and  truth;  and  again  she  is  simply  an  Attic  warrior 
transformed  into  an  Amazon.  Except  for  the  white-enamel  paint, 
which  invariably  denotes  a  woman,  and  the  shield  and  battle-axe,  we 
should  think  her  an  Athenian  ephebos.  As  on  some  other  vases  of  this 

i  Brit.  Mus.  E  1 1. 


132  ATHENIAN  WHITE   LEKYTHOI 

period  the  eyes  and  mouth  have  a  definite  expression  of  determination, 
as  if  she  intended  her  blow  to  kill;  the  expression  is  the  more  noticeable 
on  such  a  beautiful  face. 

20.  Athens,  Nat.  Mus.  1953,  Cv.  1631.     H.  0.32  m. 

Typical  palmettes  with  nine  to  eleven  leaves.  A  short  band  of  complicated  maeander 
pattern  is  broken  by  two  checkerboard  squares.  Enamel-white  is  used  for  the  string 
around  the  hair  and  for  the  ornamentation  of  the  basket.  Solid  black  is  used  for  the  ac- 
cessories, but  there  is  no  solid  color. 

A  woman  stands  in  partial  profile  facing  the  left;  she  carries  on  her  left  arm  a  basket 
containing  lekythoi  and  taeniae,  and  in  her  right  hand  is  a  casket.  Her  hair  is  held  in  a  coil 
at  the  back  of  her  head,  by  a  cord  which  is  wound  around  it  several  times.  She  wears 
a  sleeveless  chiton  (drawn  in  outline)  with  a  long  overfold  girded. 

Unfortunately  this  vase  has  been  much  damaged,  and  it  is  almost 
impossible  to  get  a  clear  conception  of  the  figure.  The  garment,  a 
Doric  chiton  with  overfold,  and  the  treatment  of  the  legs  and  feet  — 
the  left  seen  from  the  front  and  the  right  in  profile  —  differ  from  what 
is  found  on  most  vases  of  this  series.  On  later  outline  lekythoi  these 
traits  are  common,  and  they  have  already  been  noted  in  connection 
with  the  "Athena"  lekythos,  no.  3  of  this  series.  The  feet  are  drawn  in 
the  same  way  on  a  lekythos  of  Class  III  (no.  22),  a  lekythos  which  has 
almost  the  same  scene  as  that  on  the  one  under  discussion.  In  that 
instance  an  inscription  indicated  that  the  scene  had  to  do  with  a  burial, 
and  the  same  explanation  is  to  be  given  of  the  scene  here.  I.e.  this 
woman  is  starting  for  the  grave,  and  she  carries  the  characteristic 
basket  with  its  lekythoi  and  taeniae  for  the  worship  at  the  grave. 

21.  Athens,  Nat.  Mus.  1865,  Cv.  1636.     H.  0.27  m.     Ath.  Mittb. 
XV,  S.  56,  no.  12. 

Palmettes  typical,  without  bars  above.  Maeander  rude,  broken  by  horizontal  crosses. 
Below  the  scene  are  two  purple  lines  on  the  black.  No  color  is  used.  Both  drawing  and 
ornament  are  careless. 

A  woman  stands  holding  up  both  hands  toward  a  large  flat  basket  containing  taeniae, 
which  seems  to  be  suspended  above  them.  She  wears  sleeve  chiton  and  himation,  drawn 
in  outline,  and  her  hair  is  done  up  in  a  cloth. 

22.  Athens,  Nat.   Mus.    1972,  Cv.   1068.      Eretria.      H.  0.30  m. 
AeXrtot',  1889,  139,  no.  8. 

Palmettes  typical,  without  bars  above.  Maeander  complicated,  broken  by  horizontal 
crosses.  No  color,  except  that  solid  black  and  enamel-white  are  used  for  taeniae. 

A  youth  stands  facing  to  the  right  with  a  black  taenia  in  both  hands.  He  is  in  the  act 
of  putting  this  taenia  on  a  stele  before  him.  An  outline  himation  is  loosely  draped  around 
him.  The  stele  is  a  slender  shaft  with  triangular  top,  on  three  high  steps;  one  white  taenia 
is  tied  around  it,  and  another  is  draped  in  the  field  behind  the  boy. 


GROUP  B:  CLASS  IV,  i,  20-25  133 

This  is  the  first  lekythos  coming  under  discussion  on  which  the  act 
of  decking  a  stele  is  depicted.  In  technique  it  unquestionably  belongs 
in  the  present  series;  the  drawing,  though  careless,  is  quite  free,  so 
that  it  may  well  be  one  of  the  latest  members  of  the  series,  and  perhaps 
is  later  in  time  than  some  vases  of  later  classes  on  which  this  scene  has 
become  normal.  Certainly  this  shape  of  stele  occurs  more  than  once  on 
lekythoi  of  Groups  C  and  D.  The  use  of  white  for  taeniae  occurs  even 
on  red-figured  lekythoi  of  a  little  later  date;  but  when  this  peculiarity  is 
combined  with  other  marks  of  the  present  series,  there  can  be  no  doubt 
that  the  painter  was  working  with  the  type  of  this  series  in  his  mind. 

23.  Athens,  Private  Collection.     Eretria.     H.  0.268  m. 

Palmettes  typical,  but  without  bars  above.  Maeander  of  the  simplest  type. 
Taeniae  black  and  (originally)  colored.  Red  is  used  for  the  mantle. 

At  the  left  a  simple  shaft  crowned  with  a  low  block  has  four  taeniae  tied  around  it. 
A  woman  advances  away  from  this  toward  the  right,  carrying  a  large,  nearly  square  box 
in  both  hands.  Her  hair  is  done  up  in  a  cloth,  and  she  wears  red  himation  over  outline 
chiton;  no  folds  are  indicated  in  the  garments. 

The  general  appearance  of  the  woman  recalls  the  figure  on  no.  21 
(Athens,  1865).  The  box  is  of  the  same  character  as  the  one  on  certain 
lekythoi  of  Class  III  (e.g.  no.  72,  Athens,  1784).  Its  use  on  this  vase 
indicates  that  it  had  something  to  do  with  worship  at  the  grave;  it  is 
found  also  on  vases  where  it  seems  to  be  simply  one  of  the  objects  in  a 
woman's  apartment.1 

24.  Athens,   Nat.   Mus.    1844,   Cv.   1638.      Eretria.      H.  0.305  m. 
Bull.  Corr.  Hell.  Ill,  449,  no.  18;    Atb.  Mitth.  XV,  54,  no.  10. 

Palmettes  typical.  Maeander  broken  by  horizontal  crosses.  The  shape  is  heavy, 
and  the  lines  of  the  drawing  coarser  than  usual.  Solid  black  is  used  for  accessories,  and 
a  dull  dark  pink  for  garments. 

At  the  left  a  woman  sits  on  a  black  chair,  holding  up  a  wreath  in  both  hands.  She 
wears  dark  pink  chiton  and  himation  drawn  in  outline,  both  with  glaze  fold-lines.  By 
her  side  on  the  floor  is  a  kalathos. 

At  the  right  a  woman  in  similar  dress  holds  before  her  a  smegmatotheke. 

25.  Athens,  Nat.  Mus.  1826,  Cv.  1641.     Eretria.     H.  0.30  m.    Ath. 
Mitth.  XV,  53,  no.  9. 

Palmettes  typical.  Maeander  broken  by  oblique  cross  of  the  type  which  later  be- 
comes typical;  the  foot  also  is  of  the  type  which  becomes  normal.  Black,  brown,  and 
purple  are  used  for  accessories;  the  garments  are  (at  present)  without  color.  The  pre- 
liminary sketch  is  not  closely  followed. 

At  the  left  sits  a  woman  on  a  brown  chair,  holding  up  a  wreath  in  both  hands.  She 
wears  an  outline  chiton  with  large  sleeves,  and  a  himation  drawn  in  outline  is  over  her 
1  E.g.  the  red-figured  lekytho*,  Athens,  Nat.  Mu*.  1645. 


134  ATHENIAN  WHITE   LEKYTHOI 

knees.  The  head  is  quite  small;  the  hair  is  in  a  coil  at  the  back  of  her  head,  held  by  a 
purple  taenia,  and  there  are  little  curls  over  the  forehead. 

At  the  right  a  woman,  drawn  nearly  in  profile,  stands  squarely  on  both  feet  and  holds 
out  a  flower  in  each  hand.  A  purple  taenia  is  about  her  head,  and  her  hair  falls  in  a  close 
mass  down  the  back.  She  wears  a  sleeve  chiton  with  girded  overfold;  the  folds  are  in- 
dicated only  in  the  preliminary  sketch. 

In  the  field  hang  a  lekythos  and  an  oinochoe. 

The  seated  woman  in  this  scene  is  drawn  more  carefully  than  the 
same  figure  on  no.  14  above  (Brit.  Mus.  D  26),  but  the  type  is  almost 
exactly  the  same,  and  the  faults  of  that  figure  are  in  less  degree  found 
here.  This  is  the  earliest  vase  known  to  me,  and  the  only  vase  in  the 
present  series,  on  which  the  later  oblique  cross  interrupts  the  maeander 
band.  The  use  of  brown  paint  for  the  chair  is  limited  to  vases  of  the 
present  group,  and  the  present  specimen  is  perhaps  the  earliest  one  on 
which  it  occurs. 

26.  Paris,  Collection  de  feu  M.  Joly  de  Bammeville.     Cat.    (W. 
Froehner),  no.  13.     H.  0.187  m- 

At  the  right  a  woman  sits  in  a  chair,  and  looks  at  herself  in  a  mirror.  At  the  left  a 
standing  woman  offers  her  a  taenia. 

The  description  of  the  technique  of  this  lekythos  is  quite  incomplete, 
but  apparently  it  should  be  classified  in  the  present  series. 

27.  Paris,  Hotel  Lambert,  no.  84.     Gaz.  des  Beaux-Arts,  1866,  II, 
p.  117. 

Palmettes  typical;  the  maeander  above  is  simple.  Drawn  "au  trait  rouge,"  accord- 
ing to  De  Witte;  but  probably  it  is  a  glaze  color. 

At  the  left  stands  a  woman  in  full  profile  holding  out  her  hands  as  with  a  thread  or 
wreath.  She  wears  a  "purple"  chiton  with  fold-lines  below,  and  over  it  a  himation 
leaving  the  right  arm  free;  her  hair  is  in  a  cloth. 

At  the  right  a  woman  (chiton  with  purple  fold-lines  and  himation)  turns  to  go, 
reaching  back  with  her  right  hand  and  holding  out  an  alabastron  in  her  left.  She  also 
stands  squarely  on  both  feet  (which  are  turned  to  the  right),  but  her  body  is  viewed  en 
face. 

Between  them  is  a  kalathos  on  the  ground,  and  over  it  the  word  V  ABE. 

The  description  of  this  vase  is  also  imperfect,  but  I  have  little  hesi- 
tation in  classifying  it  at  this  point;  the  general  technique  of  the  vase, 
the  style  of  the  drawing,  and  the  details  of  the  scene  leave  no  doubt  in 
my  mind  that  the  "trait  rouge"  of  De  Witte  describes  the  reddish 
brown  of  the  thin  glaze  lines  that  are  used  on  these  lekythoi. 

The  scenes  from  the  gynaikeion  which  occur  on  these  last  four  leky- 
thoi will  receive  fuller  discussion  later.  It  is  sufficient  to  point  out  now 
that  the  objects  in  the  hands  of  the  women  leave  no  doubt  as  to  the  in- 


GROUP  B:  CLASS  IV,  i,  26-28  135 

tention  of  the  artist.  The  wreaths  and  the  taenia,  the  smegmatotheke, 
the  alabastron,  the  mirror,  and  the  kalathos  on  the  ground  are  all  objects 
which  have  to  do  with  the  domestic  life  of  women.  The  smegmato- 
theke, or  toilet  vase,  which  appears  on  no.  24  for  the  first  time,  is  es- 
pecially popular  with  the  makers  of  vases  in  this  group,  and  it  is  found 
only  rarely  in  later  groups.  The  black  lekythos  and  oinochoe  hanging 
in  the  field  mark  the  revival  of  a  habit  which  appeared  in  Class  I,  but 
which  was  later  dropped  by  the  painters  of  outline  lekythoi;  on  leky- 
thoi  of  Groups  B  and  D  these  objects  in  the  field  are  commonly  found. 
Further,  the  presence  of  the  lekythos  in  women's  apartments  furnishes 
additional  proof,  if  that  be  needed,  that  this  shape  of  vase  was  used  in 
the  daily  life  of  women.  In  practice  they  may  have  been  hung  on  the 
wall,  though  it  is  more  probable  that  this  is  merely  a  convention  of  the 
painter,  who  wished  objects  in  the  field,  not  tables,  shelves,  or  cupboards. 
28.  Athens,  Nat.  Mus.  1913,  Cv.  1647.  Athens.  H.  0.27  m. 
AeXrtoM,  1892,  13,  no.  42;  Ath.  Mitth.  XVIII,  98;  Jour.  Hell.  Stud. 
1896,  p.  167  n.;  Klein,  Lieblingsinschriften,  S.  162,  10.  Plate  V,  I. 

Palmettes  typical,  somewhat  elongated.  Simple  maeander  above,  two  purple  lines  on 
the  black  below.  Black  and  magenta  are  used  for  garments,  white  for  the  woman's  head- 
cloth  and  for  the  dog,  as  well  as  for  the  woman's  flesh.  Traces  of  preliminary  sketch 
in  the  soft  clay. 

At  the  left  a  woman  stands  squarely  on  both  feet,  in  profile,  holding  out  a  red  fruit  and 
an  (outline)  pomegranate  in  her  hands.  She  wears  chiton  with  full  sleeves  (in  outline, 
folds  only  in  preliminary  sketch)  and  black  himation  with  purple  fold-lines;  her  hair  is 
all  in  a  white  cloth. 

Facing  her  a  youth  stands  with  right  leg  bent,  both  feet  on  the  ground,  in  profile.  He 
is  closely  wrapped  in  a  magenta  himation,  fold-lines  in  thin  glaze;  his  long  hair  is  rolled 
up  behind,  and  the  braids  are  apparently  fastened  over  the  forehead;  in  front  of  the  ear 
is  long,  loose  hair  drawn  in  thin  glaze.  His  left  hand  is  placed  on  his  hip  under  the  gar- 
ment. In  front  of  him  and  facing  the  woman  is  a  white  dog. 

Behind  the  woman  a  black  oinochoe  hangs  in  the  field.     Between  the  figures  is  the 

.       .    . 
inscription 

The  name  Lichas  occurs  on  red-figured  vases  depicting  the  sacrifice 
of  Herakles  on  Mt.  Oeta,1  and  the  inscription  Lichas  kalos  is  found  on 
some  five  red-figured  vases.  On  each  of  four  Nolan  amphorae  with  this 
inscription  the  figure  facing  toward  the  left  is  draped  more  or  less 
closely  in  the  himation,  and  in  the  two  published  specimens  his  left  arm 
is  raised  under  the  garment  as  here.2 

1  E.g.  Brit.  Mu».  E  494;   Compttt  rendut,  Atlas,  1869,  pi.  ir,  I. 

*  Klein,  S.  160,  1-4;  Tischbein,  IV,  pi.  xvii;  Oxford,  AAm.  Qa.  fig.  a$ 


136  ATHENIAN  WHITE   LEKYTHOI 

On  four  other  lekythoi  of  the  present  group  this  inscription  occurs, 
the  fourth  time  with  the  added  word  3AMIOY.1  All  five  lekythoi 
date  from  the  same  period,  though  there  is  some  slight  difference  in  the 
freedom  of  the  drawing.  Mr.  Bosanquet  has  pointed  out  the  fact  that 
both  Lichas  and  Samios  are  Spartan  names,  likely  to  be  popular  at 
Athens  in  connection  with  the  "  laconism  "  of  Kimon ; 2  in  that  case  these 
vases  no  doubt  antedate  the  ostracism  of  Kimon  in  462. 

The  eye  of  the  youth  is  not  closed  at  either  angle,  and  has  a  large, 
black  dot  for  a  pupil,  —  a  type  not  uncommon  in  the  early  fine  period 
of  the  red-figured  style.  The  straight  hairs  in  front  of  the  ear  may  be 
seen  on  a  lekythos  of  Group  C  now  at  Athens  (no.  64,  Athens,  Nat. 
Mus.  1945);  it  is  the  more  careless  use  of  a  device  for  picturesque 
treatment  which  was  used  by  the  later  great  kylix  painters.  The  gar- 
ment of  the  youth  is  drawn  with  much  freedom,  and  stands  in  striking 
contrast  with  the  conventional  garments  of  the  woman.  Apparently 
the  woman  with  the  fruits  is  in  her  home,  and  she  seeks  to  attract  the 
visiting  youth  by  a  present  of  fruits;  the  oinochoe  on  the  wall,  if  it 
means  anything,  means  that  the  woman  is  in  her  own  apartments. 
The  dog  appears  as  the  companion  of  a  youth  both  on  vases3  and  on 
reliefs;  this  is  one  of  the  points  where  the  lekythos  scene  and  the  grave- 
relief  scene  come  together,  and  in  each  instance  the  dog  is  present  as 
the  everyday  companion  of  the  youth.  This  lekythos  is  unique  in  the 
present  series  in  that  it  gives  a  definite  particular  scene  from  daily 
life,  instead  of  repeating  some  purely  formal  scene  of  general  meaning. 
At  the  same  time  the  artist  is  working  with  the  conventions  of  the 
series,  and  neither  figure  by  itself  shows  anything  of  special  interest. 

29.    Oxford,  Ashm.  Mus.  268.    Gela.     H.  0.36  m.    Catalogue,  pi.  xxi. 

Palmettes  typical;  maeander  broken  by  horizontal  crosses.  Below  the  scene  are  two 
purple  lines  on  the  black.  A  dull  mauve  pink  is  used  for  garments  and  shield,  and  solid 
black  for  accessories.  The  enamel-white  of  the  woman's  flesh  has  disappeared.  Ap- 
parently the  figures  were  drawn  with  a  coarse  brush  in  thin  glaze,  then  black  was 
added  with  a  fine  brush  for  the  head,  feet,  etc. 

At  the  left  a  woman  in  full  profile  holding  a  crested  helmet  in  both  hands.  She 
wears  a  dull  pink  sleeve  chiton  (white  fold-lines)  and  himation  drawn  in  outline;  her 
hair  is  held  in  a  mass  at  the  back  of  the  head  by  a  sphendone  which  is  adorned  by  leaf- 
points  around  the  front.  The  helmet  is  painted  the  same  dull  pink  as  her  chiton. 

Facing  her  stands  an  ephebos  in  three-quarters  profile  (head  and  feet  in  profile), 
grasping  an  erect  spear  with  his  right  hand;  his  left  arm  is  covered  by  a  himation  drawn 

1  Boston   Mus.  448,  series  3,  no.  15  ;   series  z,  no.  5,  Oxford,  Ashm.  Mus.  ;   series  3,  no.  14,  Athens, 
dealer's  shop;  series  3,  no.  13,  Brit.  Mus.  D  50  {Jour.  Hell.  Stud.  1896,  pi.  vi). 

2  Jour.  Hell.  Stud.  1896,  p.  167. 

8  Cp.  the  alabastron,  Brit.  Mus.  D  15. 


GROUP  B:  CLASS  IV,  i,  29-30  137 

in  outline.     Against  the  spear  rests  his  shield,  which  is  black  with  a  pink  rim.    His  head 
and  shoulders  are  said  to  be  repainted. 

Both  these  figures  stand  with  feet  squarely  on  the  ground,  as  in  the 
domestic  scenes  of  the  series;  and  as  it  is  apparently  in  the  home  that 
this  woman  brings  the  young  warrior  his  helmet,  it  may  fairly  be  in- 
cluded in  the  list  of  such  domestic  scenes.  The  treatment  of  spear  and 
shield  resembles  that  on  a  lekythos  of  Class  II  (no.  16,  Athens,  Nat. 
Mus.  1964)  where  the  shield  in  profile  rests  against  the  spear  while  the 
warrior  puts  on  his  armor.  Here,  however,  the  spear  is  not  left  to 
stand  alone,  but  serves  to  support  the  youth's  arm.  Leaf-points  such 
as  are  seen  on  the  woman's  sphendone  do  not  become  common  till 
a  later  epoch.  The  helmet,  on  the  other  hand,  is  of  the  type  which 
occurs  regularly  on  the  later  kylikes  of  the  severe  period.  The  use  of 
black  lines  for  the  head,  feet,  etc.,  on  lekythoi  found  in  Sicily,  has 
been  noted  under  no.  15,  p.  129. 

30.   London,  Brit.  Mus.  033.     Eretria.     H.  ii£  in. 

Palmettes  typical,  somewhat  elongated.  Maeander  unbroken.  Drawn  in  dark- 
brown  glaze  outline,  and  partly  restored  in  gray.  Enamel-white  is  applied  for  the  flesh 
of  Electra,  but  apparently  not  for  that  of  the  second  woman.  Solid  black,  dull  purple, 
and  bright  red  are  used  for  garments.  Considerably  damaged. 

In  the  centre  a  stele,  a  shaft  resting  on  two  steps  and  surmounted  by  a  triangular 
palmette.  On  the  upper  step,  facing  the  left,  sits  Electra;  one  foot  is  drawn  up  on  the 
lower  step,  the  left  arm  and  right  elbow  rest  on  the  raised  knee,  and  she  supports  her  chin 
by  her  right  hand.  She  wears  a  black  sleeveless  chiton  (black  stripes  below)  and  a  red 
himation.  Before  her  face  is  the  name  EAEKTPA. 

At  the  left  stands  Orestes  leaning  on  the  staff  in  his  left  hand  and  extending  his  right 
hand  as  if  in  conversation.  He  wears  a  short  chiton,  a  dull  purple  chlamys,  and  a  petasos 
at  the  back  of  his  neck. 

At  the  right  a  woman  stands  en  face  looking  to  left;  with  her  left  hand  she  lifts  the 
drapery  from  her  shoulder;  on  her  right  arm  she  carries  a  large  box  or  basket  adorned 
with  patterns  in  horizontal  rows. 

While  the  remaining  members  of  this  series  fall  into  two  sets  ac- 
cording to  the  number  of  figures  represented,  and  the  two  sets  have 
many  points  in  common,  the  present  specimen  stands  quite  alone. 
Three  figures  are  very  rarely  represented  on  any  of  the  lekythoi  on  which 
the  drawing  is  in  glaze  lines;  the  stele  is  of  a  type  represented  in  Group 
C;  the  style  of  drawing  is  much  freer  than  on  any  other  specimen  of 
this  series;  and  in  particular  the  figure  of  Orestes  with  the  small  round 
head  is  unlike  anything  in  this  group,  but  resembles  the  epheboi  on 
one  set  of  lekythoi  in  Group  C  (Class  V,  series  c).  Perhaps  the  most 
tangible  difference  from  the  other  members  of  the  series  appears  in  the 


138  ATHENIAN  WHITE   LEKYTHOI 

use  of  the  white-enamel  paint,  which  is  omitted  from  one  of  the  women 
and  is  put  on  the  arms  of  Orestes. 

The  scene  of  Orestes  and  Electra  at  the  tomb  is  not  so  commonly 
represented  on  Greek  vases  as  some  other  scenes  from  the  Orestes 
story,  but  there  are  striking  points  of  likeness  between  this  vase  and 
other  much  later  vases  on  which  the  same  scene  does  appear.  The  best 
known  of  these  later  vases  is  a  hydria  in  Naples  1  with  two  scenes,  one 
above  the  other,  the  lower  of  which  has  this  same  theme.  Electra  is 
sitting  on  the  steps  of  a  stele,  supporting  her  head  on  her  right  hand  as 
here  and  resting  the  left  arm  on  her  knees;  Orestes  stands  before  her 
in  a  similar  easy  attitude  and  extends  his  right  hand,  this  time  holding 
a  phiale;  among  the  other  figures  is  the  servant  in  Doric  chiton  at  the 
extreme  left.  Again  on  a  Lucanian  amphora  in  the  Coghill  collection  2 
Electra  sits  in  just  the  same  attitude,  veiled  as  on  the  Naples  vase; 
Orestes  stands  before  her  holding  out  a  kantharos;  on  the  other  side 
of  the  stele  is  Hermes  (?)  and  behind  him  the  servant,  who  carries  an 
alabastron  as  on  the  Naples  vase.  Finally,  on  another  vase,  published 
by  Millingen,3  Electra  sits  on  the  steps  of  a  stele  marked  Agamemnon  in  a 
slightly  different  attitude;  Orestes  behind  her  on  the  right  side  of  the 
stele,  holds  out  his  hand  to  her  as  on  our  lekythos;  and  behind  Electra 
stands  a  woman  holding  a  large  box  on  her  left  arm  and  lifting  the  gar- 
ment from  her  shoulder  with  her  right  hand.  The  figure  corresponds 
very  closely  to  the  attending  servant  on  the  lekythos,  but  as  there  is 
nothing  to  mark  her  as  a  servant,  she  has  been  called  Chrysothemis; 
perhaps  no  definite  person  was  in  the  mind  of  the  painter.  All  these 
vases  are  much  later  than  our  lekythos.  Somewhat  the  same  scene, 
however,  appears  on  an  early  terra-cotta  plaque  found  on  the  island  of 
Melos  4  and  preserved  in  the  Louvre.  Electra  sits  in  the  same  attitude 
as  on  our  lekythos,  except  that  she  faces  toward  the  right  and  supports 
herself  on  one  hand  placed  on  the  step  behind  her;  the  old  nurse 
stands  behind  her,  and  Orestes  ( ?  )  with  one  foot  on  the  stele  step 
holds  out  his  hand  as  if  in  conversation  (Robert  names  this  figure 
Talthybios,  Bild  und  Lied,  S.  168);  two  youths  follow  with  a  horse. 
Finally,  mention  should  be  made  of  a  white  lekythos  with  drawing  in 
fine  lines  of  dull  pink,5  a  style  which  was  popular  at  Athens  about  425 
B.C.  The  figure  on  the  steps  of  the  stele  has  been  interpreted  as  a 

1  Raoul-Rochette,  Man.  inedit.  pi.  xxxiv;   Baumeister,  Abb.  1308. 

2  Millingen,  Vases  grecs  de  la  collection  de  Sir  John  Cogbill,  pi.  xlv. 
8  Peinturct  des  -vases  antiques,  pi.  xiv. 

*  Man.  Inst.  VI- VII,  tav.  Ivii,  middle  of  the  fifth  century. 
6  Raoul-Rochette,  Man.  inedit.  pi.  xxxi  A. 


GROUP  B:  CLASS  IV,  i,  CONCLUSION  139 

youth  because  of  the  short  hair,  but  there  can  be  little  doubt  that  it  is 
intended  for  a  woman  and  the  lines  behind  the  head  are  part  of  the 
garment  which  was  drawn  up  as  a  veil.  Electra,  then,  seated  on  the 
steps  of  the  stele,  faces  the  right  as  on  the  relief,  and  before  her  is  the 
standing  youth  Orestes;  behind  her  on  the  other  side  of  the  stele 
is  a  standing  woman  in  the  style  of  drawing  which  is  characteristic  of 
the  women  on  these  vases  with  pink  outline.  The  lekythos  in  the 
British  Museum  which  we  are  considering  may  be  of  about  the  same 
date  as  the  relief  from  Melos,  but  it  antedates  the  four  other  vases  with 
which  it  has  been  compared,  —  three  of  them  by  at  least  a  century. 

It  is  in  every  way  probable  not  only  that  all  these  scenes  go  back 
more  or  less  indirectly  to  some  one  antecedent,  but,  further,  that  that 
antecedent  was  some  popular  painting.  The  British  Museum  lekythos 
furnishes  valuable  data  in  confirmation  of  both  points.  The  fact  that 
there  are  three  figures  at  all,  and  the  fact  that  there  is  an  attempt  to 
draw  persons  resting  in  easy  attitudes  on  a  vase  in  a  series  where  the 
attitudes  are  unusually  stiff,  both  point  to  some  particular  influence 
which  was  not  operative  on  other  members  of  the  series.  Moreover, 
all  three  of  these  figures,  together  with  others,  are  found  in  almost 
exactly  the  same  attitudes  on  other  vases  having  the  same  scene. 

Another  curious  fact  is  that  this  type  of  youth  is  perfectly  familiar 
on  vases  of  Group  C,  and  that  still  later  both  the  type  of  the  seated 
woman  on  the  stele  and  that  of  the  standing  woman  adjusting  the 
garment  on  her  shoulder  become  somewhat  common.1  I  can  hardly 
question  that  while  the  other  members  of  this  series  date  from  about 
460  B.C.,  the  one  under  consideration  is  from  ten  to  twenty  years  later, 
when  the  use  of  enamel  paint  had  been  discontinued  and  a  pure  white 
engobe  was  regularly  used.  No  other  reason  for  the  return  to  the  old 
technique  suggests  itself  than  that  there  was  something  in  the  proto- 
type of  the  scene  which  made  the  abandoned  technique  seem  more 
suitable.  We  may  perhaps  be  justified  in  thinking  that  the  prototype 
was  a  painting,  and  that  in  that  painting  the  flesh  of  men  and  women 
was  painted  in  a  tint  lighter  than  the  background. 


Apart  from  the  lekythos  just  considered,  the  members  of  this  series 
fall  into  two  sets  according  as  they  have  one  or  two  figures  in  the  scene; 
the  two  sets  sho\v  some  differences  in  the  choice  of  scene  and  in  its 

l  Robert,  Bild  und  Lied,  169,  A.  18,  discusses  the  Orestes  and  Electm  scene  as  the  prototype  of  seems 

of  mourning  at  the  grave. 


140  ATHENIAN  WHITE   LEKYTHOI 

execution,  but  there  is  no  marked  difference  in  the  technique  and 
ornamentation  of  the  vases.  All  have  the  brown  or  greenish  slip, 
often  slightly  rough;  on  all  the  drawing  is  in  lines  of  slightly  thinned 
glaze  and  enamel-white  is  added  for  the  flesh  of  women.  The  shape 
does  not  differ  much  from  the  finer  specimens  of  Class  II;  the  mouth 
is  usually  trumpet-shaped  and  not  a  simple  bell,  and  the  foot  is  a  disk 
the  edge  of  which  flares  slightly  toward  the  bottom.  The  black  pal- 
mettes  on  the  red  shoulder  also  are  like  those  on  the  shoulder  of  leky- 
thoi  of  Class  II;  sometimes  they  are  more  slender,  on  about  half  there 
is  a  row  of  short  concentric  bars  next  the  neck,  and  a  few  times  there 
are  dots  in  the  field  between  the  palmettes.  The  maeander  is  rarely 
of  the  simple  key  pattern;  generally  it  is  somewhat  complicated  and 
broken  by  a  horizontal  cross;  once  the  checkerboard  pattern  and 
once  the  later  oblique  cross  break  the  maeander.-  On  six  specimens 
two  purple  lines  appear  on  the  black  just  below  the  scene,  as  was  the 
case  on  most  lekythoi  of  Class  II.  A  slight  preliminary  sketch  like 
that  on  the  better  red-figured  vases  may  be  traced  on  about  half. 
Only  four  are  drawn  in  simple  outline  without  some  solid  color;  two 
have  a  garment  in  solid  black  without  other  color,  but  generally  a  dull 
pink  or  a  bright  red  is  also  used;  on  the  pink  ground  fold-lines  are 
indicated  in  a  darker  color,  but  on  the  red  they  are  usually  in  glaze 
outline.  This  pink  is  probably  a  variety  of  the  purple  used  by  makers  of 
black-figured  ware;  the  red  is  a  new  color  and  gradually  becomes  the 
more  popular.  As  for  the  attitude  of  the  figures,  the  full  profile, 
especially  for  sitting  figures,  is  more  common  than  on'any  other  of  the 
later  classes  of  vases,  and  the  standing  figures  rest  squarely  on  both 
feet.1  It  only  emphasizes  the  stiffness  of  attitude  to  say  that  advancing 
figures  appear  only  three  times. 

On  twenty-three  of  this  series  the  scene  consists  of  but  a  single  figure. 
With  one  or  two  exceptions  the  subjects  are  the  same  as  in  Group  A,, 
and  the  treatment  of  the  subject  is  such  as  to  suggest  that  the  artist 
was  working,  not  from  other  types  of  vases,  but  from  outline  lekythoi 
of  the  earlier  classes.  Naturally  the  peculiar  characteristics  of  Group 
B  appear  less  commonly  here;  the  work  also  is  careless,  except  in  two 
or  three  cases.  The  six  lekythoi  with  two  figures  may  all  be  classed 
as  domestic  scenes,  although  a  man  appears  on  the  last  two.  The 
distinctive  profile  of  the  domestic  scenes,  the  stiff  attitudes,  the  wool 
basket,  wreath,  or  smegmatotheke,  objects  of  domestic  life,  are  found  on 
all  of  them.  It  may  be  mere  chance  that  in  these  six  instances  there 

1  Cf.  the  stiff  figures  on  the  red-figured  kylix,  Brit.  Mus.  E  80,  Cat.  Ill,  pi.  v. 


GROUP  B:  CLASS  IV,  2,  1-2  141 

is  no  direct  reference  to  the  grave  or  to  preparations  for  a  visit  there; 
but  they  are  simple  scenes  of  domestic  life.  Aside  from  two  fragment- 
ary kalos  inscriptions  there  is  only  the  Lichas  inscription  which  will 
call  for  consideration  again  later.  Even  apart  from  this  inscription 
the  series  would  be  dated  about  460  B.C.,  and  there  is  no  reason  to 
question  that  they  were  produced  in  a  comparatively  short  period. 


Series  2.     Lekythoi  of  Class  IV  with   reserved  red  palmettes  on   a 

black  shoulder 

The  typical  shoulder  ornament  of  this  series  consists  of  three  pal- 
mettes and  two  lotus  buds;  instead  of  the  row  of  short  bars  next  the 
neck  there  is  a  narrow  egg-pattern.  The  maeander  is  quite  simple, 
and  unbroken. 

1.  London,  Brit.  Mus.  D  19.     Gela.     H.  11  in. 

Palmettes  and  maeander  typical;  below  the  scene  is  one  purple  line.  The  added 
white  has  almost  disappeared;  there  is  some  indication  that  it  was  added  to  the  wings 
as  well  as  to  the  flesh.  Lines  of  the  outline  quite  coarse.  Garment  purple  with  fold- 
lines  added  in  white  (?). 

Nike  flies  toward  the  right  and  looks  back.  She  wears  a  chiton,  and  her  hair  is  in  a 
round  black  coil  behind.  Traces  of  an  inscription  in  the  field. 

2.  London,  Brit.  Mus.,  D  20.     Gela.  H.  14  in.     White  Ath.  Vases, 
pi.  xxii. 

Palmettes  and  maeander  typical.  Slip  a  warm  yellow,  smooth.  White  for  acces- 
sories; dull  pink  with  brown  lines,  and  black  with  purple  lines  are  used  for  garments. 
The  drawing  is  of  the  late  severe  period. 

On  a  diphros  (drawn  in  outline)  a  woman  sits  facing  the  right,  and  holds  up  a  ring,  — 
probably  a  wreath  from  which  the  leaves  are  gone.  Her  hair  is  in  a  close  knot  at  the  back 
of  the  head  rather  high  up,  and  about  the  forehead  black  relief  dots  are  added.  She 
wears  a  chiton  with  large  sleeves,  in  dull  pink  with  almost  perpendicular  fold-lines,  and 
a  black  himation  is  wrapped  about  her  knees.  She  has  ear-rings  and  bracelets. 

In  the  field  at  the  left  is  a  white  alabastron  and  below  a  kalathos  on  the  ground; 
at  the  right  hangs  a  sakkos.  Before  her  is  the  word  K  A  V  E. 

This  carefully  drawn  and  somewhat  stiff  figure  illustrates  perhaps 
better  than  any  other  specimen  the  type  of  these  domestic  scenes. 
The  delicate  nose,  small  lips,  and  slightly  elongated  eye  may  have  been 
due  to  a  conscious  effort  on  the  artist's  part  to  produce  a  distinctly 
feminine  type  of  face.  The  black  relief  dots  on  the  hair  appear  oc- 
casionally from  the  time  of  Amasis  on,  but  the  round  stiff  knot  of  hair 


i42  ATHENIAN  WHITE   LEKYTHOI 

is  unusual.  It  belongs  to  the  period  of  transition  from  the  mass  of 
hair  twice  doubled  and  held  in  place  by  a  band,  to  the  coil  or  knot 
held  up  by  a  cloth  which  was  passed  under  it  and  fastened  over  the 
front  part  of  the  head.  The  use  of  purple  for  fold-lines  on  a  solid 
black  is  an  adaptation  of  the  means  at  the  disposal  of  the  maker  of 
black-figured  ware,  which  is  quite  characteristic  of  Group  B,  the  last 
group  of  lekythoi  that  shows  clearly  the  influence  of  this  earlier  tech- 
nique. Both  in  the  use  of  relief  dots  for  the  hair,  and  in  the  use  of 
these  fold-lines,  this  lekythos  recalls  a  specimen  of  Group  A  (Class  II, 
no.  17,  Athens,  Nat.  Mus.  1828);  it  is  one  of  the  later  numbers  in 
that  group  and  belongs  to  much  the  same  period  as  the  one  now  under 
consideration.  As  compared  with  later  members  of  the  present  series, 
it  is  noticeable  that  this  scene  is  less  formal  and  conventional.  The 
accessories  are  much  the  same,  but  it  is  an  alabastron,  a  vase  made  to 
hang,  that  hangs  on  the  wall,  rather  than  a  lekythos  or  an  oinochoe; 
perhaps  this  is  the  earliest  appearance  of  the  sakkos  on  extant  vases, 
and  it  is  true  to  fact  that  this  also  should  hang  on  the  wall.  The  range 
of  ornament  is  soon  established,  and  within  this  range  the  later  artist 
chooses  without  much  thought.  Although  this  vase  and  the  preceding 
are  decidedly  the  earliest  of  the  series,  it  illustrates  particularly  well 
the  main  characteristics  of  the  whole  series. 

3.    Syracuse.     19897.     Gela.     H.  0.42  m.     Plate  III,  2. 

On  the  shoulder  typical  palmetteswith  lotus  buds.  The  maeander  is  broken  by  hori- 
zontal crosses;  below  the  scene  is  a  purple  line  on  the  edge  of  the  black.  Drawn  in 
medium  lines  of  rather  thin  glaze;  black  with  purple  details,  brown  with  black  details, 
and  red  with  white  details  are  used  for  garments  and  accessories.  The  mirror  is  in  thin 
glaze. 

Before  a  brown  Doric  pillar  a  woman  sits  in  profile  facing  the  right,  looking  at  a 
mirror  in  her  right  hand.  She  wears  a  red  sleeve  chiton  and  a  black  himation  which 
leaves  the  right  arm  free;  about  her  head  is  an  outline  taenia,  from  which  her  hair  falls 
in  a  long  knot  between  the  shoulders;  on  her  right  arm  is  a  bracelet.  The  chair  on  which 
she  sits  is  brown;  beneath  it  is  a  black  crow;  above  the  woman  hang  a  black  lekythos  and 
a  taenia,  while  before  her  on  the  ground  is  a  red  kalathos. 

In  style  this  lekythos  is  extremely  like  no.  2,  though  the  drawing 
is  much  more  delicate  and  the  figure  is  in  a  more  graceful  pose.  The 
introduction  of  domestic  objects  into  the  scene  is  still  in  a  somewhat 
tentative  stage;  most  of  the  objects,  the  pet  bird,  the  kalathos,  and  the 
lekythos  on  the  wall,  occur  separately  on  lekythoi  of  Group  A;  here 
they  are  combined  as  though  to  leave  no  room  to  question  the  domestic 
significance  of  the  scene. 


GROUP  B:  CLASS  IV,  2,  3-6  143 

4.  Syracuse,  19900.     Gela.     H.  0.38  m. 

On  the  shoulder  typical  palmettes  with  lotus  buds.  The  unbroken  maeander  above 
is  somewhat  complicated;  below,  a  maeander  broken  by  horizontal  crosses  is  drawn  on  a 
red  ground.  The  drawing  is  in  fine  lines  nearly  black;  solid  black  is  used  for  the  bob- 
bins, but  no  other  color  is  seen. 

A  woman  stands  en  face  holding  up  in  her  left  hand  a  large  bobbin  of  yarn  which  falls 
in  many  strands  from  her  right  hand  as  she  unwinds  it.  She  wears  a  sleeve  chiton  with 
fine  fold-lines  and  a  himation  which  leaves  the  right  shoulder  free.  Her  hair  is  appar- 
ently braided  or  tied  together  and  then  caught  up  in  a  loose  coil  with  the  ends  protruding 
above.  Before  her  is  a  kalathos  containing  several  large  bobbins  of  yarn. 

For  this  scene  from  the  gynaikeion  I  find  no  parallel  on  other  vases. 
For  once  the  lekythos  painter  has  attempted  a  scene  from  real  life, 
and  while  it  is  not  entirely  successful  from  the  standpoint  of  decoration, 
it  is  a  welcome  relief  from  the  stereotyped  figures  ordinarily  found. 
Probably  the  vases  thus  far  considered  are  earlier  than  most  of  the 
lekythoi  under  series  I,  though  the  red-figured  shoulder  marks  a  step 
forward  in  the  development  of  the  ornamentation. 

5.  Oxford,  Ashm.  Mus.     H.  0.25  m.     Jour.  Hell.  Stud.  1896,   p. 
167,  note  6(#);  Klein,  Litblingsinscbriften,  S.  162,  8. 

Typical  palmettes  and  lotus  buds  on  the  shoulder.  Maeander  unbroken.  Drawn  in 
coarse  black  lines;  solid  black,  dull  pink,  and  bright  red  are  used  for  accessories. 

Before  a  slender  Ionic  column  (the  capital  and  base  painted  in  white  enamel)  sits  a 
woman  in  profile,  holding  up  the  two  ends  of  a  wreath.  She  wears  a  sleeve  chiton,  over 
her  knees  and  left  shoulder  is  a  himation  with  red  stripes;  she  has  ear-rings,  and  her  hair 
is  held  in  a  knot  by  a  wide  purple  taenia.  On  the  ground  before  her  is  a  white  goose, 

above  which  hangs  a  black  oinochoe.     Inscription   AI_I_  A<  • 

The  meaning  of  the  column  (beside  a  woman's  head)  on  lekythoi  of 
Class  II  is  not  clear;  but  in  this  instance  there  is  no  doubt  that  it  in- 
dicates a  portico  connected  with  the  women's  apartments;  and  like 
the  crow  on  no.  3  and  on  a  lekythos  of  Class  III  (no.  u)  the  duck 
or  goose  is  a  favorite  pet  in  the  gynaikeion.  The  stork  on  a  later 
vase  in  the  present  series  has  no  close  connection  with  the  scene,  but 
these  birds  are  the  actual  pets  of  daily  life.  As  the  dog  with  his  master 
on  the  former  Lichas  vase  (series  I,  no.  28)  marked  a  point  of 
connection  between  lekythoi  and  grave  monuments,  so  the  bird  with 
her  mistress  calls  to  mind  a  considerable  series  of  such  monuments, 
all  of  them,  however,  considerably  later  than  these  lekythoi. 

6.  Oxford,  Ashm.  Mus.     H.  about  0.36  m. 

Typical  palmettes  and  lotus  buds  on  the  shoulder.  Maeander  unbroken.  The  slip 
is  quite  brown ;  on  the  edge  of  the  black  below  the  scene  are  two  purple  lines.  The  white 


144 


ATHENIAN  WHITE   LEKYTHOI 


enamel  ordinarily  used  for  the  flesh  has  disappeared  if  it  ever  was  used.     Dull  red,  and 
black  with  purple  lines  are  used  for  garments,  etc. 

A  girl  advances  toward  the  right,  holding  out  in  both  hands  a  black  casket.  She 
wears  a  dull  red  sleeve  chiton  with  fold-lines  added  in  white;  a  black  mantle  with  purple 
lines  is  loosely  draped  over  both  arms;  her  hair  is  held  in  a  knot  by  a  narrow  purple 
taenia,  and  she  has  a  bracelet. 

The  large  box  or  casket,  which  occurs  frequently  on  lekythos  of  the 
present  class  (cp.  series  i,  no.  23,  etc.),  is  occasionally  found  on 
grave  scenes,  but  only  as  an  article  of  domestic  use.  It  probably 
represents  the  casket  in  which  were  kept  jewels  and  other  small  articles 
used  in  feminine  toilet.  As  such  it  is  found,  e.g.  on  the  Hegeso  grave 
stele.  The  skirt  is  drawn  with  a  full  fold  behind,  in  a  manner  peculiar 
to  the  present  class. 

7.   Athens,  Nat.  Mus.  1912,  Cv.  1648.   Athens,  Kerameikos.  H.  0.23  m. 

Typical  palmettes;  maeander  unbroken.  Below  the  scene  on  the  black  glaze  are  two 
purple  lines.  Garment  black  with  purple  fold-lines.  Traces  of  a  preliminary  sketch. 

A  youth  (?)  stands  before  a  diphros,  holding  in  his  right  hand  fruits,  in  his  left  a  basket. 
He  wears  a  himation  drawn  over  both  shoulders.  In  the  field  is  an  outline  alabastron. 

This  scene  follows  the  type  of  the  woman  before  an  altar  which  is 
common  in  Class  II  and  on  red-figured  lekythoi.  While  the  type  has 
been  consistently  adapted  to  its  new  meaning,  the  generalized,  purely 
ornamental  character  remains  the  same. 

8.  Athens,  Nat.  Mus.  1845  (Coll.  400),  Cv.  1635. 
H.  0.255  m-'  Cir.  0.255  m-  dth.  Mitth.  XV,  S.  56, 
14.  (Fig.  36.) 

Palmettes  and  maeander  typical.  Dull  pink  is  used  for  the 
chair,  and  black  with  purple  details  for  garment  and  hair.  Pre- 
liminary sketch. 

At  the  left  a  woman  stands  in  full  profile,  holding  out  a  smeg- 
matotheke  on  her  right  hand  and  an  aryballos  in  her  left  hand. 
A  purple  cord  wound  around  her  hair  three  times  holds  it  in  a 
coil  at  the  back  of  her  head;  she  wears  a  sleeveless  chiton  with 
long  fold  from  the  shoulders,  ungirded.  The  flesh  is  only  slightly 
whitened. 

On  a  dull  pink  chair  a  woman  sits  in  profile,  holding  out  a 
taenia  in  both  hands.  She  wears  an  outline  chiton  with  large 
sleeves,  and  over  her  knees  is  a  black  himation  with  purple  fold- 
lines;  a  wide  purple  taenia  holds  her  hair  up  at  the  back  of  her 
FIG.  36  (no.  8).  head.  Behind  her  hangs  a  sakkos  drawn  in  outline. 

The  peculiar  stiffness  of  these  slender,  thin  figures,  characteristic  as 
it  is  of  most  lekythoi  in  this  group,  continues  to  be  noticeable  in  one 


GROUP  B:  CLASS  IV,  2,  7-10  ,45 

series  of  lekythoi  under  Group  C  (Class  V,  series  e);  and  this  line  of 
connection  deserves  mention  at  this  point  because  one  of  the  marks  of 
that  series  is  the  wide  taenia  with  serial  black  marks,  like  the  taenia 
held  by  this  seated  woman.  The  smegmatotheke  decorated  with  fine 
hatchings,  such  as  the  standing  woman  carries,  is  also  found  in  that 
series. 

9.  Athens,  Nat.  Mus.  1987.  Cv.  1645.    Eretria..     H.  0.32  m.     Jour. 
Hell.  Stud.  1896,  p.  172. 

Palmettes  and  maeander  typical.  Brown  with  black  details,  and  black  with  purple 
details,  are  used  for  garments,  etc. 

By  a  chair  with  brown  cushion  stands  a  woman  holding  out  both  hands.  She  wears 
a  black  chiton  with  purple  fold-lines,  and  a  brown  himation  with  black  fold-lines.  Before 
her  is  a  kalathos  in  black  with  purple  details. 

At  the  right,  facing  the  first  woman,  stands  a  second,  holding  out  a  black  smegmato- 
theke. Her  hair  is  in  curls  down  to  the  shoulders;  she  wears  a  sleeveless  outline  chiton 
with  fold  from  girdle,  and  apparently  an  overfold  from  the  shoulder. 

On  these  last  two  vases  the  chair  is  no  longer  black,  but  it  is  painted 
with  a  thick  dull  color  varying  from  brown  to  a  slightly  pinkish  shade, 
which  may  have  been  made  from  the  purple  that  was  applied  on  black. 
It  continues  to  be  used  for  chairs  and  some  accessories  in  this  group, 
and  rarely  on  vases  of  Group  C. 

10.  Athens,  Nat.  Mus.  2032,  Cv.  1633.     H.  0.25  m.     Plate  V,  2. 

Palmettes  and  maeander  typical.  White  and  magenta  are  used  for  garments,  black 
for  accessories.  The  preliminary  sketch  includes  fold-lines  which  were  not  added  in 
color. 

At  the  left  a  woman  stands  in  partial  profile  holding  out  both  hands  as  if  with  a 
taenia.  She  wears  a  sleeveless  chiton  drawn  in  outline,  with  fold  from  the  shoulder, 
ungirded;  her  hair  is  in  a  round  knot,  a  little  up  from  the  neck. 

At  the  right  a  woman  in  partial  profile  faces  the  first  woman  and  holds  out  a  black 
fruit  in  her  right  hand.  Her  hair  is  arranged  like  that  of  her  companion,  but  it  is  covered 
with  a  cloth;  a  few  locks  stray  out  in  front  of  the  ear.  She  wears  a  chiton  with  large 
sleeves,  drawn  in  outline;  and  a  white  himation  (folds  in  thin  glaze,  a  wide  magenta 
stripe  near  the  middle  and  along  the  lower  edge)  is  draped  around  the  body,  and  held  at 
the  hip  by  the  right  hand.  Between  the  figures  a  black  bird  seems  to  stand  on  the  wall 
with  his  head  down. 

Of  these  two  figures  the  one  at  the  left  is  hastily  drawn,  and  repeats  a 
type  which  is  very  characteristic  of  the  present  series.  The  small  head 
with  low  crown  is  more  marked  than  usual,  and  the  pose  is  stiff;  while 
the  round  knot  of  hair  resembles  that  on  no.  2  of  this  series.  Although 
the  right-hand  woman  stands  squarely  on  both  feet  and  the  drawing 
is  not  free,  still  the  figure  is  executed  with  considerable  care,  and  it 


146 


ATHENIAN  WHITE   LEKYTHOI 


shows  some  slight  attempt  at  originality.  The  delicate  profile  of  the 
face  and  the  treatment  of  the  eye  call  to  mind  that  series  of  lekythoi 
under  Class  C  which  has  been  mentioned  in  connection  with  no.  8. 
The  himation  is  handled  in  a  manner  that  is  not  specially  graceful, 
but  it  does  not  follow  any  lekythos  type.  On  the  other  hand,  the  lines 
of  the  chiton  about  the  breast  follow  very  closely  the  type  of  this  series; 
it  is  farther  noticeable  that  only  one  breast  is  indicated,  just  as  if  the 
figure  were  in  full  profile.  This  is  the  same  trait  which  was  noted  in 
some  of  the  later  vases  in  Class  II,  and  is  probably  due  to  old  tradition, 
a  tradition  which  persisted  even  when  the  method  of  treatment  had 
otherwise  changed.  Finally  a  sort  of  originality  on  the  part  of  our  artist 
is  evidenced  by  the  bird.  The  conventional  accessories  are  omitted, 
and  in  their  stead  a  bird  is  perched  in  an  almost  impossible  attitude 
on  a  projection  of  the  wall.  The  difference  in  technique  between  the 
two  standing  figures  extends  even  to  the  character  of  the  lines  in  which 
the  figures  are  drawn,  and  it  would  hardly  be  rash  to  suggest  that  they 
came  from  different  hands. 

n.  Berlin,  Inven.  3175.  Athens.  H.  0.343  m.;  Cir.  0.368  m. 
Jour.  Arch.  Inst.  1891,  Arch.  Anz.  S.  118,  14.  (Fig.  37.) 

The  neck  is  slenderer 
and  the  body  swells  more 
than  in  other  members  of 
the  series.  Palmettes  and 
maeander  typical.  Slip 
of  a  warm  yellow  tone. 
Black  accessories,  and 
applied  purple  for  taenia. 
The  -preliminary  sketch 
in  the  soft  clay  gives  some 
details  which  are  missing 
in  the  completed  scene. 

At  the  left  stands  a 
woman,  her  body  only 
slightly  out  of  profile, 
pouring  from  a  phiale  in 
her  right  hand  and  hold- 
ing a  sceptre  erect  in  her  left  hand.  Her  hair  is  looped  loosely  over  her  ears,  and  bound 
to  the  back  of  the  head,  with  ends  free,  by  means  of  a  broad  purple  taenia.  She  wears 
sleeve  chiton  and  himation  drawn  in  outline. 

At  the  right  a  woman  stands  squarely  on  both  feet,  body  en  face,  and  faces  her  com- 
panion; she  holds  a  black  oinochoe  in  her  lowered  right  hand,  and  holds  up  a  torch  in  her 
left  hand.  She  wears  a  sleeveless  chiton  with  deep  fold  from  girdle,  and  an  overfold  from 
the  shoulder.  Her  hair  is  in  a  knot,  held  up  by  a  broad  purple  taenia. 


FIG.  37  (no.  n). 


GROUP  B:  CLASS  IV,  2,  u-na  147 

To  judge  from  the  preliminary  sketch  the  painter  has  made  a  curious 
mistake  in  the  right  arm  of  the  figure  at  the  left,  so  that  the  elbow  is 
not  covered  by  the  sleeve  as  was  originally  intended.  In  this  instance 
the  two  stiff  figures  of  the  gynaikeion,  which  constituted  the  repertoire 
of  our  artist,  receive  the  attributes  of  the  libation  scene  that  is  so  com- 
mon on  the  red-figured  vases  of  the  period.  On  a  vase  of  the  following 
series  (3,  no.  29,  Athens,  Nat.  Mus.  1754)  the  same  transformation  is 
more  successfully  carried  out,  and  the  figures  seem  to  be  Demeter  and 
Kore.  On  the  present  vase  it  is  only  clear  that  the  schema  of  mistress 
and  servant  is  preserved,  while  at  the  same  time  the  sceptre  of  a  god- 
dess is  given  to  the  mistress  and  the  torch  (of  Artemis  or  Kore  ?)  is 
given  to  the  servant.  The  small  firm  chin  and  long  nose  give  an  odd, 
prim  expression  to  the  faces,  perhaps  not  intended  by  the  artist.  It  is 
unusual  to  find  the  old  style  of  doing  up  the  hair  (figure  at  the  left) 
on  a  vase  of  this  series;  on  the  other  hand,  the  elongated  eyes  are  typical 
of  these  lekythoi. 

na.  Athens,  Nat.  Mus.  Inv.  12771.  Eretria.  H.  0.39  m.  'E<£. 
1905,  <r.  37,  niv.  I. 


Palmettes  with  lotus  buds  typical.  The  unbroken  maeander  runs  all  around  the  top 
of  the  vase.  Slip  cream-colored;  two  purple  lines  on  the  upper  edge  of  the  black  glaze 
below  the  slip.  Light  red  and  black  with  applied  purple  lines  for  garment  and  bird. 
Solid  black  and  white  for  accessories.  Preliminary  sketch  with  a  dull  point. 

At  the  left  a  woman  stands  in  full  profile,  looking  down  at  her  child  and  steadying 
him  with  her  extended  arms.  She  wears  a  light  red  chiton  (black  fold-lines)  girded  over 
an  overfold  from  the  shoulder.  She  wears  ear-rings,  and  her  hair  is  held  by  a  purple 
cord  wound  around  the  head  four  times  and  tied  around  the  coil  at  the  back  of  her  head. 

Before  her  stands  a  little  maid  in  full  front  view,  carrying  a  small  child  "pickaback." 
Her  hair  is  cut  so  that  it  does  not  reach  the  shoulders;  she  wears  a  scant  black  chiton 
girded  with  a  purple  girdle  (no  overfold).  The  child  looks  up  toward  its  mother. 

At  the  extreme  left  is  a  black  column  on  a  square  white  base,  with  a  white  Doric 
capital.  Above  the  maid  hang  two  black  oinochoai,  and  at  her  right  a  black  raven 
(purple  details)  stands  on  the  ground.  At  the  right  is  the  two-line  inscription 
AAKIMAXOS  KAAOS. 

On  the  present  vase,  which  was  found  in  the  excavations  of  1900- 
1901,  the  two  figures  of  mistress  and  maid  are  more  sharply  distin- 
guished than  on  most  of  these  lekythoi.  The  mistress  is  a  well-poised 
figure,  standing  squarely  on  both  feet  and  only  inclining  her  head 
toward  the  child.  The  pose,  the  lines  of  the  garment,  the  ear-ring,  and 
the  profile  are  very  like  what  is  seen  on  the  following  vase  from  Gela 
(no.  12).  This  type  of  garment,  which  does  not  continue  for  any 
long  time  on  white  lekythoi,  is  also  found  on  the  Dromippos  vase  in 


:48  ATHENIAN  WHITE   LEKYTHOI 

Berlin,1  and  on  some  of  the  Hygiainon  lekythoi  of  Class  V.  Her  lower 
lip  and  chin,  as  well  as  the  arrangement  of  her  hair,  recall  earlier  tra- 
dition, while  the  careful  treatment  of  the  eye  is  rather  in  line  with  the 
better  vases  of  Class  V.  The  gesture  of  the  two  extended  hands  is  here 
given  a  decidedly  original  meaning;  the  smile  of  the  mother,  also,  as 
she  plays  with  her  child  is  a  striking  mark  of  the  individuality  of  the 
painter.  The  expression  of  feeling  or  emotion  in  the  face,  rare  on  any 
Greek  vase,  is  almost  unknown  on  white  lekythoi. 

In  regard  to  the  little  maid  and  her  interesting  burden  there  is  little 
or  nothing  to  add  to  Mr.  McMahon's  discussion  in  the  'E^/xe/ns. 
The  full  front  view  of  the  face  is  rarely  attempted,  either  on  black- 
figured  or  on  red-figured  ware,  except  when  the  artist  desires  to  secure 
some  unusual  and  striking  expression  on  the  face.  Here,  however,  the 
painter  has  yielded  to  the  exigency  of  the  situation  in  that  he  desires 
to  make  the  "  pickaback  "  scene  as  realistic  as  possible,  for  it  would  be 
manifestly  unnatural  for  the  person  carrying  a  child  in  this  manner  to 
turn  the  head  to  one  side.  The  child  is  rudely  drawn,  a  nude  figure, 
and  all  painted  white,  though  it  seems  to  be  a  boy.  He  leans  over 
toward  his  mother  as  though  he  expected  her  to  take  him  from  the 
maid;  but  she  seems  to  be  simply  steadying  him  or  caressing  him. 
('E<£.'Apx.  42-43.)  It  is  further  pointed  out  by  McMahon  that  just 
this  scene  is  represented  in  art  but  not  on  vases,  though  not  infre- 
quently red-figured  vases  and  even  white  lekythoi  picture  a  child 
brought  to  its  mother.  Perhaps  this  variation  of  the  gynaikeion 
scene  was  devised  by  a  painter  who  was  accustomed  to  make  the 
small  pitchers  on  which  scenes  of  child  life  are  more  common  than  on 
any  other  type  of  red-figured  ware.2 

The  delicate  oinochoai  hanging  in  the  field  are  found  commonly 
on  lekythoi  of  the  third  series  in  the  present  class,3  and  on  the  so-called 
Hygiainon  lekythoi  of  Class  V.  The  raven  is  also  found  on  one 'of 
the  "  Diphilos  "  lekythoi,4  as  on  several  lekythoi  of  Group  A.  A  heron 
or  a  duck  takes  its  place  when  a  bird  appears  on  later  lekythoi.  While 
a  column  in  the  field  occurs  on  other  lekythoi  of  the  present  class,5 
this  Doric  column  is  of  a  different  type.  I  am  inclined  to  accept 
McMahon's  suggestion  that  the  high  base  signifies  a  raised  portico; 
it  is  possible  that  the  black  shaft  is  intended  to  be  of  wood,  while  the 

1  Berlin,  Furtw.  2443,  Series  3,  no.  7. 

2  E.g.  Klein,  Lieblingsinxbriftcn,  S.   136,  Fig.  36  ;  on  lekythoi  the  nearest  parallel  is  Berlin,  Furtw. 
2443,  series  3,  no.  7. 

8  Series  3,  nos.  9,  1 1,  12,  i  5,  1 6.  *  Ibid.  no.  n  ;  cp.  Class  III,  no.  II. 

6  Pillar,  Series  i,  nos.  2,  3  ;   Ionic  column,  series  2,  no.  5  ;  series  3,  no.  22. 


GROUP  B:  CLASS  IV,  2,  12  149 

step  and  capital  were  of  marble,  but  it  seems  more  likely  that  the  painter 
is  simply  trying  to  vary  the  older  black  column  by  introducing  some 
white  members. 

The  name  Alkimachos  is  found  on  seven  other  vases,  one  of  them  a 
white  lekythos  of  Class  V.1  So  far  as  one  can  judge  from  the  publica- 
tion of  this  last  lekythos  with  the  inscription  "Axiopeithes  son  of  Alki- 
machos," it  has  much  in  common  with  the  one  under  discussion  in 
spite  of  the  difference  of  technique,  and  belongs  somewhat  before  the 
middle  of  he  fifth  century.  The  inscription  on  a  red-figured  vase  in 
Paris  2  gives  both  names  together  with  the  kalos  added;  this  fact  may 
suggest  that  Axiopeithes  had  a  son  of  the  same  name,  a  brother  of 
Alkimachos,  in  which  case  the  name  Axiopeithes  on  a  vase  about  con- 
temporaneous with  the  one  under  discussion  need  cause  no  surprise. 

12.  Brussels,  Coll.  Somzee.  Gela.  H.  0.35  m.  Burlington  Fine 
Arts  Club  Exhibition,  1888,  Catalogue,  p.  29,  no.  51 ;  Jour.  Hell.  Stud. 
1896,  p.  170,  n.  18;  Klein,  Lieblingsinschriften,  S.  153,  4.  Furtwan- 
gler,  Sammlung  Somzee,  Taf.  xxxix. 

Palmettes  and  maeander  typical.  Slip  cream-colored.  Blue,  red,  black  with  purple 
fold-lines,  for  garments.  White  for  lyre  and  sakkoi  as  well  as  for  the  flesh. 

At  the  left  stands  a  woman  in  full  profile  playing  the  double  flute.  She  wears  a 
sleeveless  chiton,  girded  over  an  overfold  from  the  shoulder;  the  upper  part  is  said  to  be 
light  blue,  the  lower  red.  Ends  of  the  hair  protrude  from  a  white  sakkos,  decorated  with 
crosses  in  glaze. 

At  the  right  a  woman  (body  and  feet  en  face)  turns  her  head  toward  her  companion; 
in  her  left  hand  she  carries  a  lyre  seen  in  profile,  and  in  her  right  lowered  hand  the  plek- 
tron.  She  wears  the  same  garment  as  her  companion  except  that  it  is  colored  black  with 
purple  fold-lines.  Her  head-cloth  has  no  ornament,  but  she  wears  ear-rings.  Between 
the  two  women  is  the  inscription  KAAO^  AKE^TOPIAE^. 

The  unusual  name  of  the  inscription,  and  the  peculiar  manner  in 
which  it  is  put  on,  are  both  paralleled  on  a  Nolan  amphora  in  London; J 
on  this  amphora  the  drawing  is  less  free  than  on  the  lekythos,  and  the 
lambda  and  sigma  are  of  the  older  forms.  At  the  same  time  the  occur- 
rence of  the  name  written  in  the  same  manner,  and  for  export  to  the 
same  place,  suggests  that  no  long  interval  separated  the  two  vases; 
and  farther,  it  might  suggest  that  this  lekythos  was  a  product  of  some 
shop  where  red-figured  ware  for  the  export  trade  was  ordinarily  made. 
This  last  supposition  may  explain  the  great  care  exercised  in  painting 
this  lekythos,  and  also  why  such  anomalies  as  the  lyre  in  profile,  or 
indeed  the  flute  player,  occur  on  an  outline  lekythos.  The  flute 

1  KJein,  Litblingtinukrifteii,  S.  165  f.  ;  Claw  V,  31. 
«  Ibid.  1.  e.  S.  165,  4.  •  Brit.  Mu».,  E  197. 


i5o  ATHENIAN  WHITE   LEKYTHOI 

player  is  no  uncommon  figure  on  red-figured  ware  from  the  time  of 
Brygos  on,  but  it  does  not  find  a  place  on  other  outline  lekythoi. 

It  is  instructive  to  compare  this  vase  with  two  other  lekythoi.  On  a 
specimen  of  the  next  group  (Oxford,  Ashm.  266,  Class  V,  no.  33) 
two  women  are  playing  the  lyre.  The  three-line  inscription  giving  the 
father's  name  and  the  somewhat  stiff  drawing  ally  that  vase  with  mem- 
bers of  the  present  group;  the  garments  also  are  treated  in  the  same 
manner.  But  in  spite  of  a  certain  stiffness,  and  although  the  figures  on 
that  vase  are  not  drawn  with  the  same  attention  to  detail  as  on  this  one, 
the  greater  freedom  of  the  Oxford  vase  is  evident  at  a  glance.  Our 
lekythos  is  much  more  nearly  allied  in  spirit  to  a  fragment  at  Bonn,1  on 
which  the  same  three-line  inscription  appears.  In  spite  of  the  greatest 
care  in  the  drawing,  the  figure  on  this  interesting  fragment  shows  all 
the  stiffness  which  marks  the  vases  of  Group  B.  Such  details  as  the 
flat  top  of  the  head,  the  insignificant  upper  lip  and  weak  chin,  the  man- 
ner in  which  the  loose  ends  of  hair  are  given,  the  lines  of  the  upper 
eyelid  and  the  eyelashes,  correspond  closely  in  the  two  vases.  Both 
these  vases  illustrate  the  power  of  the  fixed  types  over  the  manufacturer 
of  the  vases  of  this  series.  The  seated  woman  of  the  Bonn  fragment  has 
slipped  down  a  little  lower  in  her  chair  than  the  other  seated  women 
which  have  been  examined,  and  details  are  painted  with  extreme 
care;  she  still  remains  the  woman  in  full  profile  with  feet  flat  on  the 
ground,2  with  the  typical  treatment  of  garments,  and  seated  on  a  brown 
chair,  —  the  same  woman  with  whom  we  are  already  familiar.  So  the 
two  standing  figures  on  this  lekythos  from  Gela,  the  woman  in  full 
profile  standing  squarely  on  both  feet,  and  the  woman  with  body  and 
feet  en  face,  both  clothed  in  sleeveless  chiton  with  overfold,  these  are 
regular  types  of  this  series.  It  is  only  in  the  treatment  of  the  face  and 
the  objects  held  in  the  hands  that  the  artist  goes  oustide  the  types, 
and  here  he  shows  unusual  boldness  and  skill.  The  close  adhe- 
rence to  types  should  prevent  the  assignment  of  this  lekythos  to  a 
date  really  later  than  the  rest  of  the  series;  and  the  peculiarities  of 
the  scene  may  best  be  explained  by  the  fact  that  it  is  an  experiment, 
probably  by  an  artist  accustomed  to  work  in  the  red-figured  technique. 
The  preliminary  sketch  laying  down  the  main  lines  of  the  scene  would 
then  come  from  the  usual  hands,  and  would  prescribe  just  those  limits 
to  the  painter  which  we  find  that  he  has  observed. 

1  Published  in  your.  Hell.  Stud.  1896,  pi.  iv  ;  series  3,  no.  6. 

2  The  entire  absence  of  any  arch  to  the  foot  is  the  more  noticeable,  since  on  black-figured  ware  a  decided 
arch  is  often  represented. 


GROUP  B:  CLASS  IV,  2,   13-14  ,51 

13.  Oxford,   Ashm.   Mus.    267,    Cat.   pi.   xxi.    Gela.   H.  0.35  m. 
Klein,  Lieblingsinscbrifttn,  S.  148,  2. 

Palmettes  and  maeander  typical.  The  glaze  lines  of  the  outline  are  partly  black, 
partly  yellow,  as  on  some  other  lekythoi  found  in  Sicily.1  Solid  black  is  used  for  one  gar- 
ment. Below  the  scene  are  two  purple  lines  on  the  black.  Partially  restored  (  ? ). 

At  the  left  a  youth  stands  in  full  profile,  grasping  two  spears  in  his  left  hand,  while 
his  right  rests  on  his  hip  under  the  garment.  He  wears  a  fillet  and  a  short  mantle  which 
is  wrapped  closely  round  him,  and  covers  even  his  left  hand. 

At  the  right  a  woman  approaches  rapidly  and  stretches  out  both  hands  toward  his 
face.  She  wears  a  sleeveless  chiton,  drawn  in  outline,  and  a  stiff,  black  overgarment 
which  reaches  a  little  below  the  waist.  Her  hair  is  in  a  round  knot  at  the  back  of  her 
head.  Inscription  KAAOS  TIMOKPATES. 

The  inscription  on  this  vase,  as  on  the  previous  one,  is  written  in  the 
peculiar  T-shaped  manner  which  characterizes  the  vases  exported  to 
Gela.  It  resembles  the  other  members  of  this  series  in  that  both  figures 
are  in  full  profile,  and  while  one  of  the  figures  is  advancing,  the  drawing 
is  awkwardly  executed;  in  fact,  the  legs  are  handled  as  would  be  the 
case  if  the  artist  were  working  with  a  preliminary  sketch  in  which  it 
was  intended  that  the  second  figure  should  also  be  standing  still.  The 
gesture  of  the  extended  hands  goes  naturally  with  the  profile  attitude, 
and  is  only  slightly  modified  from  the  gesture  of  the  woman  holding 
out  a  wreath  or  taenia.  The  woman's  round  knot  of  hair  is  rather  a 
mark  of  this  series,  and  the  profiles  are  of  the  usual  type,  though  more 
carefully  drawn  than  on  some  of  the  vases  found  on  Greek  soil.  The 
scene  is  much  like  that  on  No.  29  of  series  I,  i.e.  it  is  a  woman  bidding 
farewell  to  her  son  or  some  member  of  her  family,  and  the  action  no 
doubt  is  conceived  as  taking  place  in  the  house,  if  not  in  the  gynai- 
keion.  The  most  striking  peculiarity  of  the  vase  is  the  overgarment  of 
the  woman;  this  may  be  paralleled  on  outline  lekythoi  of  two  or  three 
decades  later,  and  perhaps  the  left-hand  figure  of  the  preceding  vase 
should  be  thought  of  as  wearing  the  same  garment,  only  that  in  this 
instance  it  is  held  by  the  girdle. 

14.  Athens,  Nat.  Mus.    1929.  Cv.   1642.     Eretria.     H.  0.313  m. 
Atb.  Mitth.  XV,  57,  no.  15. 

Palmettes  and  maeander  typical.  Black,  brown,  and  white  accessories;  one  gar- 
ment is  black  with  purple  fold-lines. 

Two  women  bend  over  a  basket  containing  taeniae,  wreaths,  etc.,  which  stands  on 
a  brown  table.  The  woman  at  the  left  stands  in  profile,  and  has  just  taken  up  a  large 
white  taenia.  She  wears  a  sleeve  chiton  with  stiff  fold-lines  in  thin  glaze,  and  over  this 

1  See  p.  129,  ClaM  IV,  i,  no.  15. 


152  ATHENIAN  WHITE   LEKYTHOI 

a  himation,  black  with  purple  fold-lines,  which  leaves  the  right  arm  uncovered.     The 
hair  is  in  a  mass  at  the  back  of  her  head.     She  has  ear-rings  and  bracelets. 

At  the  right  a  shorter  woman  stands  in  profile  bending  over  the  basket  from  which 
she  has  taken  a  white  alabastron  and  a  black  lekythos.  She  wears  a  sleeveless  chiton 
ungirded,  with  fold-lines  in  thin  glaze.  Her  hair  is  looped  over  her  ears  and  falls  in  a 
long  coil  or  braid  tied  at  the  bottom  with  a  purple  cord;  about  her  head  is  a  wide  purple 
taenia.  Diagonally  across  the  field  is  the  inscription  Kj.\QZ  HOfAl^. 

Except  for  the  unusual  treatment  of  the  hair  on  the  second  woman, 
a  style  which  is  characteristic  of  the  following  series,  both  these  figures 
reproduce  the  types  now  familiar.  The  scene  representing  a  woman 
on  her  way  to  visit  a  grave  has  already  been  found  three  times;  *  here 
the  thought  of  that  scene  is  adapted  to  the  place  represented  by  most 
of  the  lekythoi  in  this  series,  namely  the  gynaikeion,  and  the  result  is 
the  preparation  to  go  to  the  grave.  Perhaps  this  phase  of  the  scene 
naturally  precedes  the  other  phase  in  which  the  woman  has  actually 
started  on  her  mission,  but  apparently  it  is  not  historically  first;  rather 
it  is  an  adaptation  of  the  visit  to  the  grave  so  that  it  may  become  a 
house  scene. 

15.   Palermo.     Sicily.     H.  0.36  m. 

On  the  shoulder  typical  palmettes  with  lotus  buds.  The  slip  is  quite  brown.  The 
maeander  above  is  broken  by  horizontal  crosses.  Drawn  in  medium  lines  of  brown 
glaze.  Two  shades  of  reddish  brown,  and  black  with  added  purple  lines,  are  used  for 
garments,  etc. 

At  the  left  stands  a  woman  in  profile,  who  bends  forward  and  holds  up  in  both  hands 
a  round  white  fillet. 

Facing  her  stands  in  profile  a  shorter  woman,  holding  up  a  flower  or  fruit  in  each  hand. 
Both  wear  dark  brown  sleeve  chitons  marked  with  darker  parallel  lines;  over  this  is  a 
black  himation  with  purple  fold-lines.  The  hair  is  held  by  a  purple  fillet  in  a  small  knot 
at  the  back  of  the  head. 

Between  the  two  is  a  dark  brown  table  from  which  hang  black  taeniae,  and  on  it  a 
light  brown  basket  containing  wreaths. 

The  scene  on  this  vase  found  in  Sicily  is  the  same  as  that  on  no.  14, 
though  here  the  idea  is  not  quite  so  consistently  carried  out.  The  black 
taeniae  are  all  that  suggest  the  preparation  to  go  to  the  grave,  other- 
wise the  scene  is  purely  domestic  in  character.  And  while  on  the  pre- 
vious vase  the  figures  of  mistress  and  servant  are  somewhat  carefully 
differentiated,  here  the  difference  in  size  alone  distinguishes  the  mis- 
tress at  the  left.  

The  distinguishing  mark  of  these  fifteen  lekythoi  is  the  treatment  of 
the  shoulder  in  the  red-figured  manner.  On  most  of  the  earlier  red- 

1  Class  III,  no.  22;  Class  IV,  series  I,  nos.  20,  21. 


GROUP  B:  CLASS  IV,  2,  CONCLUSION  153 

figured  lekythoi  the  palemettes  are  drawn  in  black  on  the  red  shoulder; 
the  red-figured  shoulder  is  found  only  on  a  comparatively  small  group 
dating  from  about  the  middle  of  the  fifth  century,  and  on  almost  all 
these  the  shoulder  ornament  consists  of  the  egg-pattern  next  the  neck, 
and  three  palmettes  with  two  lotus  buds.  After  this  date  lekythoi 
in  the  red-figured  style  are  not  common.  The  small  series  of  outline 
lekythoi  which  we  are  considering  is  very  closely  connected  with  the 
red-figured  lekythoi  having  the  same  shoulder  ornament,  while  after 
this  time  the  outline  technique  pursues  more  and  more  its  own  indepen- 
dent course. 

In  the  case  of  the  lekythoi  of  this  series  the  mouth  is  usually  trumpet- 
shaped,  flaring  at  the  upper  edge,  as  in  series  I ;  the  foot  is  of  the  type 
which  later  becomes  typical,  a  red  disk  with  a  groove  at  the  upper  edge; 
a  slight  swelling  of  the  body  from  the  shoulder  down  is  more  common 
than  in  other  classes.  The  egg-pattern  on  the  shoulder  next  the  neck 
and  the  pattern  of  palmettes  with  lotus  flowers  are  reproduced  directly 
from  red-figured  lekythoi; l  this  pattern  of  palmettes  was  tried  as  an 
experiment  on  the  later  white  shoulder  and  soon  discarded,  while  the 
egg  ornament  appears  on  all  the  more  careful  later  lekythoi.  The 
uniformity  in  the  maeander  over  the  main  scene,  which  is  ordinarily 
unbroken,  simple,  and  often  drawn  in  detached  strokes,  can  hardly  be 
accidental;  it  may  indicate  that  the  preparation  of  the  vase,  including 
the  preliminary  sketch  and  the  ornamentation,  was  differentiated  from 
the  final  drawing  of  the  main  scene,  and  consequently  less  attention  was 
paid  to  variety  in  the  preliminary  steps.  The  two  purple  lines  on  the 
black  below  the  scene  occur  on  no.  7,  the  only  one  which  deviates 
from  the  regular  scheme  of  ornamentation,  and  on  nos.  3,  6,  and 
13.  This  is  the  last  appearance  of  these  lines,  and  it  marks  the  final 
emancipation  of  outline  lekythoi  from  the  influences  which  were  at 
work  in  Classes  I  and  II. 

In  the  main  scene  there  is  some  variety  in  the  use  of  color;  white 
with  fold-lines  in  glaze,  brown  with  dark  fold-lines,  magenta  for  a 
stripe,  occur  several  times;  the  predominating  color,  for  the  himation, 
however,  is  black  with  fold-lines  in  purple,  while  the  chiton  is  usually 
drawn  in  outline.  This  variation  on  the  silhouette  method  continues 
occasionally  in  Group  C  and  then  disappears.  On  nos.  1-7  the 
scene  consists  of  but  a  single  figure  and  the  figures  chosen  do  not  de- 
viate much  from  the  types  of  Group  A;  the  deviations  are  rather  mat- 
ters of  detail,  while  the  general  type  continues  the  same.  Numbers 

1  KJcin,  LiebliHgtinKbrifttH,  S.  156,  Fig.  40  (cp.  Fig.  31). 


i54  ATHENIAN  WHITE   LEKYTHOI 

8-15  have  two  figures,  and  the  scene  is  always  laid  in  the  home.  Even 
the  ephebos  scene,  the  libation  scene,  and  the  grave  scene  are  so  modi- 
fied as  to  show  that  they  are  located  in  the  women's  apartments  of 
the  house.  In  these  scenes  both  figures  stand  squarely  on  both  feet; 
either  both  are  jn  profile,  or  one  is  in  full  profile  and  the  other  is  en 
face  (feet  and. body),  turning  only  the  head  to  look  at  the  first;  while 
there  is  considerable  variety  in  the  garments,  one  figure  commonly  has 
sleeve  chiton  and  himation,  and  the  second  a  sleeveless  chiton.  Often 
the  contrast  in  the  hair  and  in  the  attitude  might  indicate  that  the  second 
figure  was  an  attendant  slave.  The  preliminary  sketch  did  not  notice 
this  difference  of  the  figures,  and  more  elaborate  garments  were  sug- 
gested for  the  woman  with  the  sleeveless  chiton.  The  figures  themselves 
are  tall,  slender,  and  stiff,  even  reaching  quite  up  to  the  maeander 
which  bounds  the  scene  at  the  top.  The  common  gesture  for  one  figure 
is  the  extending  of  both  arms,  with  a  wreath,  or  a  taenia,  or  without  any 
object  which  can  now  be  detected;  it  is  this  gesture  which  receives  a 
different  meaning  on  no.  13.  The  other  figure,  usually  the  attend- 
ant, holds  out  an  alabastron,  a  fruit,  or  a  smegmatotheke.  There  is  a 
noticeable  variety  in  the  treatment  of  the  hair  of  women;  the  style  of 
several  decades  before  appears  on  no.  n;  on  no.  14  the  attend- 
ant has  the  hair  down  in  a  manner  common  on  the  lekythoi  of 
series  3;  the  ordinary  methods  of  holding  the  hair  by  a  cord  wound 
around  several  times  or  supporting  it  by  a  cloth  passed  under  the  coil 
at  the  back  of  the  head  are  found;  and  finally  there  occurs  several  times 
a  peculiar  round  knot  a  little  up  from  the  neck.  Some  accessories  occur 
in  the  field,  notably  on  nos.  2  and  3,  and  a  chair  or  a  kalathos  comes 
in  more  than  once;  but  there  is  not  the  same  desire  for  objects  to 
break  up  the  monotony  of  the  blank  field,  apart  from  any  meaning 
they  may  have,  which  may  be  remarked  in  series  I  and  series  3. 

Six  lekythoi  of  this  series  have  inscriptions,  and  the  variety  in  the 
letters  on  vases  made  at  about  the  same  time  illustrates  the  unfixed 
state  of  the  alphabet  as  learned  by  the  vase  painter.  Two  of  these 
inscriptions,  by  the  manner  in  which  they  are  put  on  as  well  as  by  the 
name  which  occurs  on  one  of  them,  connect  these  outline  lekythoi  with 
the  red-figured  ware  which  was  exported  to  Gela.  The  character  of 
the  inscriptions  would  favor  a  date  of  about  460  B.C.,  a  date  arrived  at 
both  on  grounds  of  general  style,  and  on  the  basis  of  the  names  which 
appear  on  lekythoi  of  Group  B.  Comparing  this  series  with  series  I,  we 
may  say  that  other  elements  beside  the  red  shoulder  indicate  a  slightly 
earlier  date  for  that  series,  while  the  two  series  almost  certainly  overlap. 


GROUP  B:  CLASS  IV,  3,  1-2  155 


Series  3.       Lekythoi    of   Class  IV  with   black   palmettes   on   a  white 

shoulder. 

On  this  series  the  typical  shoulder  ornament  consists  of  three  pal- 
mettes on  a  white  shoulder;  usually  the  alternate  leases  of  the  pal- 
mettes are  in  a  thin  red  which  easily  fades;  on  several  there  are  also 
the  two  lotus  buds  as  on  vases  of  the  last  series. 

1.  Cambridge,  Fitz.  Mus.  138.     Athens.     H.  0.215  m. 

The  neck  is  not  separated  from  the  shoulder,  and  both  are  covered  with  the  yellowish 
slip;  on  the  shoulder  are  two  concentric  rows  of  bars.  Above  the  scene  the  maeander  is 
separated  in  sets  of  two  by  horizontal  crosses.  Five  incised  lines  in  the  black  below  the 
scene.  Pink  (brown  details)  is  used  for  garment. 

On  either  side  of  the  scene  are  two  large  palmettes  with  scrolls.  Before  a  chair  a 
woman  stands  in  full  profile  facing  the  right,  and  holds  out  a  large  box  in  both  hands. 
She  wears  a  sleeve  chiton  drawn  in  outline,  and  a  pink  himation;  her  hair  is  fastened 
together  in  a  long  knot  extending  back  from  her  head. 

In  shape,  size,  and  general  ornamentation,  as  well  as  in  the  large 
palmettes  flanking  the  scene,  this  vase  continues  the  style  of  Class 
III  a;  and  it  is  the  last  appearance  of  these  palmettes.  At  the  same  time 
it  has  all  the  characteristics  of  Group  B,  even  to  the  scene  of  a  woman 
standing  by  a  chair,  and  the  dull  pink  paint  which  is  used  for  the  hima- 
tion. The  later  numbers  of  Class  III  continue  even  after  the  vases  in 
the  technique  of  Group  B,  so  that  it  is  not  strange  that  a  vase  made  for 
that  decoration  should  receive  a  scene  in  the  style  of 
the  present  group.  What  seems  to  be  a  double  knot 
of  hair  may  be  a  rude  representation  of  that  early 
treatment  when  the  hair  was  looped  up  and  bound 
against  the  back  of  the  head,  leaving  the  ends  free. 

2.  Athens,  Nat.  Mus.  1847  (Coll.  399),  Cv.  1634. 
H.  0.247  m-  J  Cir.  0.255.    Atb.  Mitth.  XV,  52,  no.  8. 
(Fig-  38.) 

On  the  shoulder  a  row  of  short  bars,  and  then  a  series  of  five 
palmettes.     Maeander  simple.     The  foot  is  a  simple  disk.     Black          p,n    ,g  (no  2), 
and  white  for  accessories;   magenta  for  garment. 

A  woman  is  seated  in  full  profile  on  a  black  chair,  facing  the  right,  and  holds  up  in 
both  hands  a  wreath  of  lilies.  She  wears  a  sleeve  chiton  drawn  in  outline,  and  over  her 
knees  is  a  bright  magenta  himation;  the  hair  is  looped  over  the  ears  and  held  in  a  knot  at 
the  back  by  a  broad  white  taenia.  Behind  her  in  the  field  is  a  large  ornamental  scroll, 
and  over  it  hangs  a  black  oinochoe;  at  the  right  a  white  taenia  is  draped  on  the  wall. 


156  ATHENIAN  WHITE   LEKYTHOI 

This  scroll  in  the  field  is  of  the  same  type  as  that  on  a  lekythos  of 
series  i  (no.  10,  Athens,  Nat.  Mus.  1921);  it  continues  an  ornament 
which  appeared  rarely  on  both  careful  and  careless  vases  of  Group  A, 
nor  is  it  at  all  limited  to  outline  lekythoi.  This  vase  is  quite  typical 
of  the  earlier  members  of  Group  B,  and  the  only  noticeable  feature  is 
the  care  which  the  artist  has  lavished  on  the  lilies  of  the  wreath  which 
the  woman  is  holding;  elsewhere  he  is  following  a  beaten  track,  and  in 
his  effort  to  add  a  touch  of  originality  he  introduces  into  the  scene  a 
strange  lack  of  proportion. 

3.  Chicago,  Art  Institute.    Col.  von  Branteghem.    Froehner,  178. 
Klein,  Lieblingsinschrifteny  S.  132,  6,  Fig.  35. 

Maeander  broken  by  horizontal  crosses.  White  is  used  for  accessories,  and  red  for 
garment. 

A  woman  stands  in  front  of  a  chair,  closely  draped  in  her  mantle.  She  wears  a  chiton 
drawn  in  outline,  and  a  red  himation.  On  the  ground  is  a  kalathos,  and  a  taenia  is 
draped  above.  Inscription,  EYAIftN  KAAO^. 

It  is  instructive  to  compare  this  lekythos  with  a  pelike  in  the  British 
Museum  1  which  has  the  same  inscription.  The  figures  show  much 
of  the  same  stiffness  in  attitude  and  gesture  which  characterizes  the 
lekythoi  of  this  group;  and  the  painter  of  that  vase  uses  freely  the  white 
paint  which  marks  this  Group  B,  and  the  purple  on  a  black  ground 
which  is  quite  common  on  these  lekythoi.  The  letters  of  the  inscrip- 
tion show  some  forms  older  than  those  which  appear  on  the  lekythos, 
but  both  lekythos  and  pelike  belong  to  the  middle  of  the  fifth  cen- 
tury B.C. 

3a.  With  this  lekythos  should  be  compared  another  on  which  the 
same  inscription  occurs;  according  to  Klein's  description2  a  woman 
wearing  a  red  mantle  stands  before  an  altar  with  flame;  in  her  left 
hand  she  holds  a  sceptre,  in  her  right  a  phiale  from  which  she  pours  a 
libation  on  the  altar.  The  red  mantle  repeats  the  technique  of  the  von 
Branteghem  lekythos;  otherwise  the  scene  is  adapted  from  one  familiar 
in  Class  III,  only  that  the  woman  has  the  sceptre  of  a  queen. 

4.  Naples,  Coll.  S.  Angelo  122.     H.  0.35  m.    (Fig.  39.) 

On  the  shoulder  three  palmettes  with  two  lotus  buds.  The  maeander  is  broken  by 
oblique  crosses  of  the  later  type,  and  runs  well  back  on  the  vase.  In  the  thick,  yellow  slip 
are  traces  of  the  preliminary  sketch  with  a  dull  point.  Drawn  in  coarse  lines  of  light 
brown  glaze.  The  hair  of  the  old  man  and  the  helmet  of  the  warrior  are  in  enamel-white, 
and  the  warrior's  mantle  was  bright  red. 

1  Brit.  Mus.  E  379,  Gerhard,  Am.  Vastn.  Taf.  150.  For  other  vases  with  the  same  inscription  see 
Klein's  list.  2  Ltcblingsinschriften,  S.  132,  7. 


GROUP  B:  CLASS  IV,  3,  3-4 


157 


At  the  left  a  bearded  man  with  white  hair  stands  stiffly  in  profile,  his  right  hand  sup- 
ported on  a  high  staff.  He  wears  a  mantle  which  reaches  just  below  the  knees,  and  about 
his  hair  is  a  fillet. 

Placing  him  stands  in  profile  a  bearded  man  in  similar  mantle,  his  right  hand  grasp- 
ing a  spear.  The  high  helrpet  (cheek  pieces  raised)  on  his  head  breaks  the  maeander 
pattern,  but  is  crossed  by  the  lines  below  it;  against  his  knees  rests  a  shield. 


FIG.  39  (no.  4). 

The  drawing  is  rather  hasty,  especially  the  long  eyes  viewed  from 
the  front.  On  no.  29  of  series  I  the  shield  rests  against  the  spear,  and 
the  warrior  is  not  bearded;  this  painter  is  more  literal  in  that  he  does 
not  make  the  spear  serve  as  a  support.  The  old  scene  representing  the 
departure  of  a  warrior  from  his  wife  is  still  found  on  lekythoi  of  the 
following  class  (e.g.  Class  V,  no.  i);  the  departure  of  a  warrior  from 
his  father  is  less  common,  though  it  occurs  both  on  red-figured  vases 
and  on  grave  stelai. 


158  ATHENIAN  WHITE   LEKYTHOI 

4a.  New  York,  Metr.  Mus.  Inv.  06,  1021,  134.  Canessa  Sale 
Catalogue,  67.  '  H.  0.375  m. 

On  the  shoulder  egg-pattern  and  three  palmettes  (five  red  and  four  black  leaves 
each)  and  two  lotus  buds.  The  maeander  is  unbroken.  There  are  traces  of  a  prelimi- 
nary sketch  with  a  dull  point.  The  scene  is  drawn  in  lines  of  thin  yellow  glaze,  and 
the  garment  folds  are  indicated  by  close  parallel  lines  of  the  same  character,  but  the 
outlines  of  the  man's  face,  hands,  and  feet  are  drawn  in  fine  lines  of  black  glaze.  A 
broad  pink  line  is  added  to  one  garment,  and  a  similar  line  with  white  relief  dots  is 
used  to  ornament  the  shield. 

At  the  left  a  bearded  man  stands  in  partial  profile,  carrying  a  Corinthian  helmet  in 
his  lowered  right  hand  and  holding  a  spear  erect  in  his  left  hand;  against  his  knee  rests 
a  shield.  He  wears  a  short  sleeveless  chiton,  girded;  the  folds  are  carefully  indicated 
by  close  parallel  lines. 

At  the  right  a  woman  stands  en  face  looking  toward  the  man.  In  her  lowered  left 
hand  is  a  pitcher,  and  in  her  right  hand  she  holds  up  a  white  phiale.  She  wears  an 
open  Doric  chiton  ungirded,  with  a  long  overfold  from  the  shoulder;  her  hair  projects 
from  the  back  of  her  head  in  a  loose  knot  bound  in  place  by  a  pink  taenia. 

The  shoulder  ornament  and  the  shield  on  the  ground  recall  the 
vase  just  described  (no.  4).  Perhaps  the  most  interesting  feature  of 
this  lekythos  is  the  use  of  two  kinds  of  glaze  lines  for  the  drawing; 
the  same  thing  has  been  noted  on  several  lekythoi  of  the  present  class 
which  were  found  in  Sicily  (B  IV,  i,  nos.  15  and  29,  B  IV,  3,  17)  and 
probably  is  an  experiment  made  by  some  shop  which  worked  for  the  ex- 
port trade  to  Sicily.  The  libation  scene  on  vases  representing  the 
departure  of  a  warrior  from  his  wife  or  daughter  is  a  red-figured  scene 
which  more  than  once  is  repeated  on  white  lekythoi  of  this  period. 

5.  Athens,  Nat.  Mus.   1846,  Cv.  1639.     H.  to  shoulder  0.195  m. 
Ath.  Mitth.  XV,  47,  no.  2. 

On  the  shoulder  three  palmettes  with  four  black  leaves  each  (the  red  leaves  have 
faded)  and  two  lotus  buds;  maeander  unbroken.  Black  and  brown  for  accessories; 
black  with  purple  detail  for  garment. 

At  the  left  a  woman  stands  in  partial  profile  by  a  stool  (legs  black,  seat  brown).  She 
wears  an  outline  chiton  with  fold  from  girdle  and  overfold  from  shoulder;  a  purple  cord 
wound  around  three  times  binds  her  hair  at  the  back  of  her  head.  Eye  long  and  narrow. 
Her  right  hand  is  under  her  garment;  she  is  holding  up  some  object  in  her  left  hand. 

At  the  right  a  smaller  woman  stands  holding  out  a  taenia  in  both  hands.  She  wears 
a  sleeveless  chiton  with  fold  from  girdle,  black  with  purple  fold-lines. 

6.  Bonn.     From   Athens.     Original  height    nearly    .40  m.     Jour. 
Hell.  Stud.   1896,  pi.  iv.  Klein,  Lieblingsinschriften  S.   157,   15. 

In  fragments,  shoulder  and  neck  missing.  Below  the  scene  is  a  maeander  broken  by 
horizontal  crosses.  Chair  brown,  black  details;  garments  vermilion  and  light  brown, 
the  fold-lines  in  a  darker  shade  of  the  same. 


GROUP  B:  CLASS  IV,  3,  4a-y  159 

At  the  left  a  seated  woman  in  full  profile  holds  out  in  both  hands  a  necklace.  She 
wears  vermilion  sleeve  chiton,  and  light-brown  himation  draped  closely  about  her;  the 
hair  is  confined  by  a  white  sakkos  ornamented  in  glaze,  but  it  sticks  out  from  the  back 
of  the  cloth  and  falls  around  the  face  in  very  fine  lines  of  thin  glaze;  bracelets  are  on  both 
arms.  The  eye  is  in  profile,  the  upper  lid  and  lashes  being  drawn  in  detail.  The  profile 
of  the  face  is  characteristic  of  this  group,  —  delicate  chin,  small  upper  lip,  almost  retreat- 
ing forehead,  and  low  crown  of  the  head. 

Before  her  is  the  foot  of  a  woman  (  ?)  standing  en  facf. 

TVAVKON 

Inscription,  KAAO£ 

AEATPO. 

In  an  interesting  discussion  of  the  vases  with  this  Glaukon  inscription1 
Mr.  Bosanquet  calls  attention  to  the  fact  that  this  lekythos,  like  the  fine 
white  kylikes,  is  a  product  of  a  workshop  where  red-figured  ware  was 
the  usual  product,  and  he  compares  it  with  other  Glaukon  vases  to 
show  that  it  is  one  of  the  later  members  of  this  series,  perhaps  dating 
from  the  period  465-460  B.C.  This  vase  has  already  been  cited  as 
an  example  of  the  manner  in  which  an  artist  of  some  skill  followed 
the  general  lines  of  the  stiff  figures  which  are  normal  in  this  group. 
The  only  modification  of  the  attitude  is  that  the  lady  has  slipped  down 
a  little  in  her  chair,  but  great  pains  have  been  lavished  on  the  hands 
and  on  the  details  of  the  face.  Still  the  lines  of  head  and  profile  re- 
main about  the  same  as  on  other  specimens,  so  that  no  one  would  be 
tempted  to  assign  a  later  date  to  the  vase.  The  long  fine  hairs  about 
the  face,  and  the  curious  knot  of  hair  projecting  from  the  cloth  are 
unique;  it  is  possible  that  here  even  this  conventional  artist  was  copy- 
ing from  life. 

7.  Berlin,  Furtw.  2443.  Pikrodafni  (Halimous).  H.  0.368  m.; 
Cir.  0.36  m.  Ath.  MM.  XV,  48,  no.  3;  Jour.  Hell  Stud.  1896, 
pi.  vii;  Arch.Zeit.  1880,  S.  137;  Klein,  Lieblingsinschriften,S.  159,  I. 

On  the  shoulder  egg-pattern  and  three  palmettes  with  many  leaves  and  dots  between 
the  palmettes.  The  maeander  above  is  broken  by  horizontal  crosses.  Slip  dull  gray, 
apparently  because  it  was  exposed  to  fire,  and  that  after  the  lekythos  was  broken.  Solid 
black  is  used  for  accessories  and  garment,  purple  for  details,  brown  for  chair.  The 
upper  lid  of  the  eye  is  drawn,  and  the  pupil  is  indicated  by  a  circle  instead  of  a  dot. 

At  the  right  a  seated  woman  in  full  profile  holds  out  both  hands  to  receive  her  child. 
She  wears  chiton  with  large  sleeves,  drawn  in  outline,  and  a  black  himation  with  purple 
fold-lines  is  wrapped  about  her  knees.  Her  hair  is  held  at  the  back  of  the  head  by  a 
broad  purple  taenia. 

At  the  left  an  attendant  in  full  profile  stands  holding  out  a  naked  child,  painted  white, 
which  reaches  out  its  left  arm  toward  the  mother.  The  attendant  wears  a  sleeveless 

1  Jour.    Htll.   Stud.    1896,  p.  167  I 


160  ATHENIAN  WHITE   LEKYTHOI 

chiton  girded  over  an  overfold  from  the  shoulder  (drawn  in  outline);  her  hair  is  held  by 
a  cord  wound  around  it  several  times,  and  there  is  a  little  knot  over  the  forehead.  In  the 
field  at  the  left  hangs  a  sakkos,  at  the  right  is  a  mirror,  and  also  a  black  oinochoe. 


Inscription, 

APOMOKAEIAO. 

With  this  Berlin  lekythos  should  be  grouped  the  following,  which 
are  known  to  me  only  by  description  :  — 

7a.  Jour.  Hell.  Stud.  1896,  p.  171,  Fig.  2.  Fragment  in  the  Volker- 
kunde  Museum  in  Berlin;  from  tumulus  in  theTroad. 

Beneath  a  maeander  broken  by  horizontal  crosses,  a  woman  stands  facing  the  left, 
and  carries  a  smegmatotheke  in  her  left  hand.  She  wears  a  sleeve  chiton  drawn  in  out- 
line, and  a  black  himation  (purple  fold-lines).  The  last  letters  remain  of  an  inscription 
which  probably  was  the  same  as  that  on  the  lekythos  from  Pikrodafni. 

7b.  Collection  von  Branteghem.  Froehner,  Cat.  no.  174.  Klein, 
Liebhngsinscbriften,  S.  159,  2. 

The  description  seems  to  indicate  the  same  technique  as  the  preceding  vases. 
"  Frau  im  rothen  Mantel,  vor  einem  Stuhle  stehend,  bringt  einer  zweiten  in  rothem 
und  schwarzem  Mantel  einen  Korb  mit  Kranzen  und  Tanien."  Inscription  as  on 
no.  7. 

The  recurrence  of  the  same  inscription  on  vases  of  the  present  series, 
and  that  of  an  inscription  not  found  on  other  classes  of  vases,  confirms 
the  impression  that  they  are  the  product  of  relatively  few  hands;  and 
it  suggests  farther  that  while  the  technique  may  have  been  used  by  the 
painters  of  red-figured  ware,  and  while  the  materials  used  by  the  artist 
are  for  the  most  part  the  same  as  those  used  in  the  other  techniques, 
still  the  manufacture  of  outline  lekythoi  was  beginning  to  be  a  distinct 
branch  of  the  potter's  trade.  The  scene  on  the  lekythos  from  Pikro- 
dafni is  particularly  interesting  in  that  it  reproduces  the  subject  of 
several  grave  reliefs.1  It  would  seem  that,  although  the  makers  of 
these  lekythoi  had  almost  no  originality,  they  were  not  following  leky- 
thos types  so  far  as  the  main  theme  was  concerned.  Perhaps  even 
some  of  the  stiffness  of  the  drawing  may  have  been  due  to  stiff 
models  in  stone.  The  almost  complete  absence  of  carved  grave  re- 
liefs from  the  earlier  part  of  the  fifth  century  makes  it  the  more  inter- 
esting that  the  themes  of  later  reliefs  should  appear  on  these  rather 
carelessly  drawn  lekythoi  which  date  from  just  before  the  middle  of 
this  century.  Finally  the  student  of  these  lekythoi  will  not  fail  to  no- 

1  Cp.  for  example  the  grave  relief,  Jour.  Hell.  Stud.  1884,  pi.  xxxix. 


GROUP  B:  CLASS  IV,  3,  ya-io  161 

tice  that  the  style  of  the  drawing,  particularly  in  the  case  of  the  left- 
hand  figure  on  this  lekythos,  bears  a  striking  resemblance  to  that  on  the 
so-called  Hygiainon  series  of  Group  C. 

8.  Collection  Tyszkiewicz.  Sale  Catalogue  (1898),  p.  14,  no.  15. 
Eretria.  H.  0.37111.  Jour.  Hell.  Stud.  1896,  p.  165,  7;  Klein,  Lieb- 
lingsmschriften,  S.  1 60,  5. 

On  the  shoulder  red  and  black  palmettes.     Light  brown  for  chair,  black  for  garment. 

At  the  left  a  seated  woman  holds  out  her  arms  toward  the  attendant  opposite  her. 
She  wears  chiton  (drawn  in  outline?)  and  black  himation;  on  her  hair  is  a  diadem. 

Opposite  her  an  attendant  wearing  only  the  chiton  brings  a  box  to  her  mistress.  Be- 
hind her  is  a  diphros.  In  the  field  hang  a  mirror,  two  vases  (alabastra),  and  a  taenia. 

A    I  <t>    I  A  OS 
Inscription  stoichedon,  with  letters  spaced  widely,  K   A  A  0  5  0 

M  HA  A  NOT. 

9.  Athens,  Nat.  Mus.  1922,  Cv.  1630.     Eretria.   H.  0.30  m.  Ath. 
Mitth.  XV,  52,  no.  7;  Jour.  Hell.  Stud.  XVI,  165,  no.  4  pi.  v;   Klein, 
Lieblingsmschnften,  S.  159,  I. 

On  the  shoulder  palmettes  of  an  intermediate  type  (Jour.  Hell.  Stud.  XVI,  p.  175, 
Fig.  3).  Above  the  scene  a  simple  maeander.  Two  shades  of  brown  for  box,  white 
and  black  for  accessories;  black  with  purple  fold-lines  for  garment. 

At  the  left  a  woman  in  full  profile  stands  squarely  and  holds  out  a  large  box  in  both 
hands.  She  wears  a  sleeveless  chiton,  girded  over  overfold  from  shoulder  (drawn  in 
outline,  lines  often  wavy);  her  hair  falls  in  a  long  coil  or  braid,  the  end  of  which  is  in  a 
purple  bag,  and  there  is  a  purple  ribbon  about  the  head. 

At  the  right  a  taller  woman  in  full  profile  stands  squarely  facing  the  first,  and  holds 
out  a  white  smegmatotheke  in  her  right  hand.  She  wears  a  sleeve  chiton  drawn  in  out- 
line, and  over  it  a  black  himation  with  purple  fold-lines.  Her  hair  is  held  close  to  the 
head  by  a  purple  cord  which  passes  around  it  three  times.  At  the  left  a  black  oinochoe 

A  I  <t>  I  A  0* 
hangs  in  the  field.     Inscription,  K  A  A  0  £  0 

M  E  A  A  N  0  P. 

10.  Athens,  Nat.  Mus.  1963,  Cv.  1628.     Eretria.     H.  0.405  m.  Atb. 
Mitth.  1.  c.  no.  5;  Jour.  Hell.  Stud.  1.  c.  no.  5,  pi.  v;  Klein,  1.  c.  no.  2; 
AeXriW,  1889,  cr.  75,  3. 

Shoulder  palmettes  like  those  on  the  last  number.  Above  and  below  the  scene  is 
a  maeander  broken  by  oblique  crosses,  but  not  reversing.  Air-hole  in  lower  part  of  body. 
White  is  used  for  accessories;  magenta,  and  black  with  purple  fold-lines,  for  garments. 

By  a  stool  a  woman  in  profile  stands  squarely,  holding  up  a  white  smegmatotheke  in 
her  left  hand,  and  an  alabastron  in  her  right  hand.  She  wears  a  sleeve  chiton  drawn  in 
outline,  and  a  black  himation  with  purple  fold-lines;  her  hair  is  in  a  small  knot  at  the 
back  of  her  head.  Before  her  is  a  stork  with  foot  raised. 


162  ATHENIAN  WHITE  LEKYTHOI 

At  the  right  a  woman  stands  squarely,  body  and  feet  en  face,  looking  at  her  companion: 
on  her  left  arm  she  carries  a  three-handled  basket  containing  red  and  white  taeniae.  She 
wears  a  sleeveless  chiton  girded  over  a  long  overfold  from  shoulder;  it  is  a  dull  magenta 

A  I  4>  |  AO  Z 
red  with  glaze  fold-lines;    a  cloth  covers  her  hair.     Inscription,  K  A  A  0^ 

MEAANOPO. 

n.  Rome,  Museo  artistico  industriale.  Greece.  H.  0.365  m. 
Rom.  Mitth.  XIII,  S.  84,  Taf.  iv;  Klein,  1.  c.  S.  160,  3. 

On  the  shoulder  egg-pattern  and  palmettes.  The  slip  is  yellowish.  The  maeander 
above  the  scene  is  broken  by  oblique  crosses,  not  reversing.  Black  with  added  purple 
lines  and  red  are  used  for  garments,  and  brown  and  black  for  accessories. 

At  the  left  a  woman  stands  in  profile  holding  out  in  both  hands  a  large  brown  basket 
with  one  purple  and  one  white  taenia.  She  wears  a  sleeveless  chiton  once  red,  girded  over 
a  long  overfold;  her  hair  is  held  in  a  small  knot  by  a  purple  cord  wound  several  times 
around  her  head. 

Opposite  her  is  a  woman  en  face  holding  some  object  down  in  her  right  hand.  She 
wears  a  sleeve  chiton  and  a  long  black  himation  (purple  folds)  beneath  which  her  left 
arm  is  bent;  her  hair  is  arranged  like  her  companion's.  Behind  her  is  a  stool  with  white 
legs  and  brown  seat. 

Between  the  two  is  a  crow  on  the  ground;  at  the  left  hangs  an  oinochoe,  at  the  right 

A  I  <t>  I  AO  5 
an  oinochoe  and  a  sakkos;    in  the  middle  is  the  inscription,    K  A  A  0  ^ 

MEAANOPO. 

12.  Athens,  Nat.  Mus.  1923,  Cv.  1629.  Eretria.  H.  0.36  m.  AeA.Ttoj>, 
1889,  0-./6,  4;  Atb.  Mittb.  1.  c.  no.  6;  Jour.  Hell.  Stud.  1.  c.  no.  6,  pi.  v; 
Klein,  1.  c.  S.  1 60,  4. 

Palmettes  of  the  experimental  type  figure  in  Jour.  Hell.  Stud.  1.  c.  p.  176.  The  maean- 
der above  the  scene  is  broken  by  oblique  crosses,  but  does  not  reverse.  Brown  for 
chair;  black  and  white  for  accessories;  black  with  purple  fold-lines  for  garment.  There 
is  an  air-hole  in  the  lower  part  of  the  body. 

At  the  left  a  woman  in  profile  sits  holding  out  both  hands,  on  the  right  hand  a  white 
smegmatotheke.  She  wears  sleeve  chiton  drawn  in  outline,  and  a  black  himation  (purple 
fold-lines)  is  about  her  knees;  her  hair  hangs  in  a  braid  or  long  coil. 

At  the  right  a  woman  in  profile  stands  squarely,  body  and  feet  en  face,  looking  at  her 
companion;  on  her  left  arm  she  carries  a  basket  of  taeniae  like  that  on  no.  10.  She 
wears  a  sleeveless  chiton,  with  long  overfold  from  shoulder  ungirded.  Her  hair  is  ar- 
ranged like  that  of  the  first  woman.  In  the  field  at  left  hang  a  mirror  and  an  oinochoe. 

A    I  «>  |  AO  Z 
Inscription,  K  A  A  0  3 

MEAANOPO. 

This  interesting  series  has  been  carefully  discussed  by  Mr.  Bosan- 
quet  in  the  article  in  the  Journal  of  Hellenic  Studies  above  referred  to. 


GROUP  B:  CLASS  IV,  3,   11-12  163 

At  least  four  of  the  series  were  found  in  Eretria,  and  the  three  preserved 
at  Athens  doubtless  came  from  the  same  hand;  that  they  were  made  at 
Athens  and  not  in  Eretria  can  hardly  be  doubted,  for  this  Diphilos 
would  hardly  receive  such  tribute  from  an  Eretrian.  His  name  with- 
out the  name  of  his  father  appears  on  an  outline  lekythos  of  Class  C  * 
and  on  a  few  red-figured  vases; 2  Bosanquet  also  calls  attention  to  the 
Olympian  inscription  3  giving  a  decree  of  Elis  that  confers  proxenia  on  a 
Diphilos,  son  of  Melanopos  of  Athens.  According  to  Thucydides  (VII, 
34)  a  Diphilos  commanded  a  fleet  in  414,  and  Laches,  son  of  Melanopos, 
was  commander  in  427  (III,  86).  The  date  of  the  inscription  from 
Olympia  cannot  be  given  precisely.  The  dates  given  by  Thucydides 
would  harmonize  well  with  the  fame  of  the  same  person  as  a  beautiful 
youth  near  the  middle  of  the  century. 

The  shoulder  ornaments  on  these  lekythoi  are  nearly,  but  not  quite, 
of  the  type  which  became  normal;  the  maeander,  also,  is  broken  by 
the  oblique  cross  as  in  Group  C,  but  it  is  not  yet  the  later  type  of 
ornament  with  reversing  maeander.  No  preliminary  sketch  is  to  be 
detected,  as  though  the  artist  no  longer  felt  the  need  of  such  a  guide  in 
reproducing  figures  of  these  simple  types.  The  figures  themselves 
stand  stiffly  on  both  legs,  and  are  either  in  full  profile  or  en  face  with  the 
head  in  profile;  the  garments  are  of  the  usual  two  types  which  seem 
to  have  indicated  mistress  and  maid;  and  on  each  vase  one  garment  is 
treated  in  silhouette.  The  only  trait  which  deserves  special  notice  is 
the  prevalence  of  a  treatment  of  the  hair  which  is  all  but  limited  to  this 
group  of  vases.  The  attendants,  and  on  one  of  these  vases  the  mistress 
also,  have  the  hair  in  a  long  coil  or  braid  which  hangs  down  the  back, 
and  is  either  tied  with  a  ribbon  or  confined  in  a  little  bag  at  the  bottom. 
On  one  of  these  four  vases,  no.  9,  the  garment  of  the  attendant  is  drawn 
with  a  peculiar  wavy  line,  a  trait  which  has  already  been  noticed  in 
connection  with  no.  7  supra. 

Three  of  these  vases  standing  together  on  the  museum  shelves  at 
Athens  attract  attention  even  from  the  casual  observer  by  their  careful 
drawing  and  finish  combined  with  great  rigidity  of  attitude  and  gesture. 
The  grace  of  single  lines  and  the  freedom  of  the  stork  (or  heron  ?4)  on 
no.  10  indicate  that  the  painter  felt  bound  by  definite  types  in  the  figures 

1  Infra.  C  V,  44,  Berlin,  Inv.  3970,  cp.  Arch.  Aiu.   1898,  p.  191,   no.  95  Jour.  Hell.  SnJ.   1899, 

P-  179.  n-  I- 

2  Hartwig,  Meisterubalen,  pi.  xxxiv-xxxv,  i,  Brit.  Mu».  E  68,  in  the  style  of  Brygos ;  /&</.  S.  310,  A.  I, 
other  red-figured  vases  from  the  second   half  of  the  fifth  century  i.e.  ;   Pelike  in  the  British  Museum,  E  389, 
in  the  "fine  style." 

»  Die  Intchriften,  30,  cp.  797.  4  Cp.  Camfttt  rendtl.  Atlas,  1865,  pi.  ir,  3-4. 


1 64  ATHENIAN  WHITE  LEKYTHOI 

he  reproduced.  While  the  ornament  of  the  lekythos  was  in  a  state  of 
transition,  and  the  painters  were  experimenting  with  the  use  of  an 
additional  line  in  the  inscription,  the  scene  itself  was  fixed  within  very 
narrow  limits. 

13.  London,  Brit.  Mus.  D  50.  Athens.  H.  14!  in.  Klein,  Lieb- 
lingsinsckriften,  S.  161,  6;  Jour.  Hell.  Stud.  1896,  p.  165,  pi.  vi. 

On  the  shoulder  three  black  palmettes  with  scrolls;  the  maeander  is  of  the  type 
which  becomes  normal  in  Group  C,  i.e.  broken  by  oblique  crosses  attached  alternately 
to  the  upper  and  lower  line  between  which  the  maeander  reverses.  Slip  quite  brown. 
Black  and  white  are  used  for  accessories;  reddish  brown  with  brown  fold-lines  is  used 
for  garments.  Preliminary  sketch  in  the  soft  clay. 

At  the  left  a  woman  stands  in  profile  by  a  diphros  with  black  legs  and  holds  in  both 
hands  a  large  four-handled  basket  containing  wreaths  and  taeniae.  She  wears  sleeve- 
less chiton  with  long  overfold  from  shoulder  (red  with  brown  fold-lines).  Her  hair  is 
held  by  a  purple  cord  wound  around  it  several  times,  and  leaving  a  little  knot  over  the 
forehead  and  a  round  knot  at  the  back  of  the  head. 

On  the  right  a  woman  in  profile  sits  on  a  diphros  and  extends  both  hands  to  receive 
the  basket.  She  wears  a  sleeve  chiton,  and  a  brownish  red  himation  (brown  fold-lines) 
is  wrapped  about  her  knees;  her  hair  is  all  confined  in  a  cloth.  A  mirror  and  a  small 

A  I  +  /  $ 

oinochoe  hang  above  her.     Inscription,    K  A  A  0  ^' 

^ AM  i  o  Y 

The  Lichas  inscription  has  been  discussed  above  (p.  136  f.);  the 
present  vase  with  its  three-line  inscription  is  the  most  important  of  the 
five  white  lekythoi  on  which  the  inscription  is  found,  and  if  it  be  dated 
before  462  B.C.,  the  other  three-line  inscriptions  can  hardly  be  later  than 
that  date,  for  this  vase  shows  traces  of  an  effort  to  break  loose  from  the 
traditions  of  the  series.  The  maeander  is  of  the  later  type,  the  palmettes 
show  no  traces  of  red  leaves,  and  the  lines  of  the  garments  are  less  stiff. 
In  particular  the  standing  figure,  while  both  feet  are  flat  on  the  ground, 
has  the  right  leg  bent;  and  although  the  figure  is  in  full  profile,  both 
breasts  of  the  woman  are  carefully  indicated.  The  diphroi  are  drawn 
with  care  as  if  the  artist  drew  these  particulars  from  actual  objects. 
The  frame  seems  to  be  of  bronze,  and  the  lines  on  the  horizontal  bar 
are  perhaps  the  leather  thongs  stretched  across  the  frame  to  form  the 
seat. 

14.  Athens,  Dealer's  shop.  Found  near  the  Peiraeus.  H.  0.33  m. 
Klein,  1.  c.,  S.  161,  7. 

Shoulder  with  three  palmettes,  from  which  the  red  leaves  have  faded.  The  maeander 
is  broken  with  horizontal  crosses.  The  slip  is  darkened  as  if  by  fire,  a  fire  to  which  the 
lekythos  was  exposed  after  being  broken. 


GROUP  B:  CLASS  IV,  3,  13-16  165 

At  the  left  a  woman  stands  in  profile,  holding  out  a  box  in  both  hands;  her  garment 
is  in  outline. 

Before  her  a  woman  sits  and  holds  out  her  hands  as  if  to  receive  the  box.  In  the 
field  at  the  left  hangs  some  object.  Inscription,  LI-f-A^  KALO£. 

15.  Boston,  Rob.  448   (P.  6376).     Eretria.     H.  0.307  m.     Klein, 
1.  c.,  S.  162,  9;   Mus.  des.  ant.  de  France,  VI,  iii,  p.  65,  Fig.  2. 

On  the  shoulder  palmettes  with  black  and  red  leaves;  above  the  scene  a  maeander. 
Slip  yellowish,  quite  smooth.  Two  shades  of  red  are  used  for  the  garments,  and  black 
for  accessories.  There  is  a  small  hole  near  the  bottom  of  the  vase. 

At  the  left  a  woman  in  profile  stands  holding  out  both  hands  in  the  gesture  usual  to 
this  series  except  that  the  right  hand  is  palm  down.  She  wears  a  sleeveless  chiton  of 
bright  red  with  dark  red  details.  Hair  in  a  knot  at  the  back  of  her  head,  with  hair  ends 
added  in  thin  glaze  about  the  face. 

Opposite  her  a  woman  stands  en  face,  head  to  left,  holding  a  toilet  vase  in  each 
hand.  She  wears  a  sleeve  chiton  drawn  in  outline,  ornamented  with  close  parallel  lines 
in  red,  and  a  dark  red  himation.  At  the  left  a  sakkos  hangs  in  the  field,  at  the  right  a 

A   I  +  A  { 
small  black  omochoe.     Between  them  the  inscription,  ^  .    .  _  , 

The  use  of  color  on  this  vase  is  unique  and  does  not  occur  again  in 
the  present  group;  it  is  quite  characteristic  of  one  series  of  vases  in 
Group  C.  The  general  type  of  the  figures,  however,  corresponds  with 
the  present  series,  except  for  the  gesture  of  the  right  hand  of  the  figure 
at  the  left;  this  woman  was  drawn  to  hold  a  taenia  in  her  hands,  and 
it  may  have  been  drawn  in  a  color  that  has  entirely  faded,  although  a 
glaze  outline  is  almost  always  used  for  such  accessories.  The  profiles 
also  have  the  firmly  set  lips  and  delicate  chin  which  belong  with  this 
class.  The  vase  is  one  of  the  latest  in  the  present  series  and  hardly 
antedates  vases  with  the  same  use  of  color  in  Group  C. 

16.  Paris,  Louvre  LEC.     Eretria.     H.  0.31  m.     your.    Hell.   Stud. 
1896,  p.  175  f. 

Shoulder  pattern  as  on  no.  9  supra,  with  black  and  dull  pink  leaves.  Maeander 
with  oblique  cross,  reversing.  Black,  white,  brown,  and  dull  pink  are  used  for  acces- 
sories; black  with  purple  fold-lines  and  dull  pink  for  garments. 

On  a  brown  chair  a  woman  in  profile  sits  holding  in  her  right  hand  a  white  smeg- 
matotheke,  in  her  left  hand  a  white  alabastron.  She  wears  a  sleeve  chiton  (drawn  in 
outline,  fold-lines  added),  and  over  her  knees  is  a  himation,  black  with  purple  fold- 
lines.  Her  hair  is  in  a  coil  at  the  back  of  the  head,  and  she  wears  ear-rings. 

Opposite  her  stands  a  woman  in  profile  holding  out  in  both  hands  a  large  flat  basket 
with  white  handles  from  which  hang  purplish  taeniae,  and  on  which  are  wreaths  drawn  in 
glaze.  She  wears  a  sleeveless  chiton  girded  over  an  overfold  from  the  shoulder  (pur- 
plish, with  darker  fold-lines);  her  hair  is  in  a  sakkos  of  the  same  color.  In  the  field  at 
the  left  hang  a  pink  cloth  and  a  black  oinochoe;  at  the  right  a  brown  oinochoe  hangs 
over  a  stool  with  black  legs. 


i66  ATHENIAN  WHITE   LEKYTHOI 

From  a  technical  standpoint  this  lekythos  is  interesting  in  that  the 
purple  color  which  was  originally  used  by  the  manufacturer  of  black- 
figured  ware  is  here  modified  to  produce  two  or  three  different  effects. 
Apparently  the  purplish  brown  used  to  represent  the  woodwork  of  a 
chair  is  obtained  from  the  purple  by  adding  some  pigments  with  heavy 
body,  and  the  thin  purple  of  one  garment  on  the  present  vase  seems  to 
have  the  same  coloring  matter  as  the  earlier  thick  purple.  The  pres- 
ence of  both  stool  and  chair,  together  with  a  variety  of  objects  on  the 
walls,  is  an  example  of  the  occasional  effort  of  the  painter  to  give 
a  fuller  setting  to  these  simple  scenes.  Within  the  stiff  framework 
which  marks  the  present  series  there  is  some  freedom  in  the  drawing; 
for  instance,  the  eyes  on  this  vase  are  of  the  type  which  is  normal  in 
the  following  groups. 

Mr.  Bosanquet  describes  x  a  vase  which  is  no  doubt  the  same  as  the 
one  now  under  consideration,  although  the  inscription  "  Hygiainon 
kalos  "  is  not  mentioned  in  my  notes.  This  name  comes  up  for  dis- 
cussion in  connection  with  one  series  of  vases  under  Group  C,  and  its 
presence  here  is  another  of  those  links  which  show  that  no  considerable 
period  of  time  separates  the  two  groups. 

17.    Syracuse  2288.      H.  to  shoulder,  0.26  m. 

Neck  missing.  On  the  shoulder  three  palmettes  with  lotus  buds;  the  palmettes 
have  four  black  leaves,  between  which  were  probably  five  red  leaves.  The  maeander  is 
broken  by  two  types  of  horizontal  crosses.  The  preliminary  sketch  with  a  dull  point 
can  be  detected.  A  broad  line  of  thin  glaze  is  used  for  the  youth's  garment  and  hair 
and  a  finer  line  of  the  same  for  the  face,  arms,  and  feet  of  the  woman;  the  man's  face, 
arms,  and  legs  are  in  fine  lines  of  black  glaze.  The  woman's  chiton  is  solid  black: 

At  the  left  stands  a  woman  in  profile  holding  up  a  taenia  in  both  hands.  She  wears 
a  sleeve  chiton  undergirded;  her  hair  is  held  in  a  large  coil  by  a  purple  cord  wound  three 
times  around  the  head. 

Opposite  her  an  ephebos  stands  en  face,  both  hands  down,  his  right  holding  a  spear. 
He  wears  a  short  chlamys  and  petasos. 

The  shoulder  ornament  appears  again  in  this  form  in  the  first  series 
under  Class  V;  the  woman,  however,  with  her  delicate  hands  and 
slightly  bowed  head  recalls  rather  series  d  of  Class  V,  even  though  the 
drawing  is  a  little  stiffer  here.  The  use  of  black  glaze  lines  and  broader 
yellow  glaze  lines  on  the  same  vase  has  already  been  noted  on  lekythoi 
of  Class  III  found  in  Sicily,  and  on  nos.  15  and  29  of  series  I  in  the 
present  class.2  The  extreme  stiffness  of  the  right-hand  figure  may  in- 
dicate even  that  it  was  drawn  by  a  different  hand  from  the  woman. 

1  Jour.  Hell.  Stud.  1896,  p.  175;   Klein,  Lieblingsinscbriften,  p.  168,  4.  2  See  p.  129. 


GROUP  B:  CLASS  IV,  3,  17-19 


,67 


18.  Syracuse,  22879.    Camarina.     H.  0.28  m. 

On  the  shoulder  palmettes  with  lotus  buds.  The  maeander  is  unbroken.  Traces  of 
a  preliminary  sketch  with  a  dull  point.  Drawn  in  coarse  yellow  lines  of  glaze;  black 
and  brown  are  used  for  accessories. 

At  the  left  by  a  stool  a  woman  stands  in  profile  holding  an  egg  or  fruit  in  her  left 
hand,  an  alabastron  in  her  right  hand.  She  wears  a  sleeve  chiton  with  long  overfold 
ungirded;  her  hair  hangs  in  a  low  knot  at  the  back  of  the  head. 

Opposite  her  stands  a  woman  en  face,  carrying  a  white  taenia  and  a  wreath  in  her 
hands.  She  wears  a  Doric  chiton  ungirded;  her  hair  is  in  a  sakkos. 

19.  Athens,  Private  Collection.     H.  0.316  m.    (Fig.  40.) 

On  the  shoulder  a  row  of  short  bars,  then  three  palmettes  (black  and  vermilion  leaves) 
without  the  usual  scrolls.  Above  the 
scene  the  maeander  is  in  groups  of 
three,  separated  by  horizontal  crosses. 
Slip  quite  brown.  Enamel-white  for 
female  flesh  only.  Black  for  gar- 
ment border  and  ornament  on  box. 
The  preliminary  sketch  shows  the 
folds  of  the  woman's  garment.  No 
color  is  used. 

At  the  left  a  bearded  man  in  pro- 
file stands  leaning  on  a  stick  in  his 
extended  right  hand;  the  left  knee 
is  slightly  bent.  A  himation  with 
black  border  is  draped  about  the 
body,  and  under  it  the  left  hand 
seems  to  rest  on  the  hip.  Small 
curls  are  added  on  the  edge  of  the 
hair. 

At  the  right  a  woman  stands, 
body  and  feet  en  face,  looking  at  the 
man.  On  her  left  arm  she  carries  a 
large  box,  and  her  right  hand  is 
slightly  raised  toward  her  companion. 
She  wears  sleeve  chiton  and  himation,  the  folds  of  which  were  never  added;  her  hair  is 
looped  over  the  ear  and  rolled  in  a  somewhat  loose  knot  at  the  back  of  her  head.  Be- 
tween them  is  an  imitation  inscription. 

The  figure  of  the  woman  drawn  en  face  is  always  awkward,  but  here 
the  awkwardness  is  increased  by  the  fact  that  the  artist  has  drawn  the 
profile  of  the  woman's  breast  as  though  she  were  standing  in  profile. 
The  large  casket  which  she  carries  occurs  in  some  grave  scenes  in  the 
present  group,  and  probably  the  present  scene  should  be  interpreted 
as  a  meeting  on  the  occasion  of  a  woman's  visit  to  the  grave.  The 


FIG.  40  (no.  19). 


i68  ATHENIAN  WHITE   LEKYTHOI 

framework  of  the  scene  is  one  of  the  two  with  which  we  are  familiar 
in  this  series,  although  one  of  the  figures  is  finally  drawn  as  a  man. 

20.  Athens,  Nat.  Mus.  1982,  Cv.  1067.  Eretria.  H.  0.35  m. 
AeXrtov  1889,  cr.  226,  i;  Jour.  Hell,  Stud.  1896,  p.  172,  n.  21. 

Shape  retreating  from  shoulder.  Neck  white  with  band  of  black  ivy  leaves  and 
fruit,  below  which  are  four  lines;  on  the  shoulder  are  five  palmettes  with  red  and  black 
leaves,  and  stars  in  the  field.  Above  and  below  the  scene  is  a  maeander  pattern  broken 
by  horizontal  crosses.  Slip  rather  thin,  brownish.  Accessories  in  black;  dull  pink  is 
used  for  a  garment. 

In  the  centre  a  stele  rises  on  two  low  steps,  and  on  it  are  two  outline  taeniae;  the  tri- 
angular top  rises  into  the  maeander.  At  the  left  stands  a  woman  holding  out  an  alabas- 
tron  in  her  left  hand,  and  on  her  right  arm  a  flat  basket  containing  lekythoi,  wreaths, 
and  taeniae.  She  wears  a  sleeve  chiton  and  a  short,  dull  pink  himation. 

At  the  right  and  partly  behind  the  stele  a  basket  of  wreaths,  lekythoi,  etc.,  stands  on 
a  table;  above  it  hangs  a  lyre  in  the  field.  A  woman  stands  holding  her  right  hand  over 
the  basket  and  carrying  in  her  left  hand  a  smegmatotheke. 

The  peculiar  ornamentation  of  this  vase  occurs  on  no.  30  of  the 
present  series  (Athens,  Nat.  Mus.  1983),  on  one  or  two  lekythoi  with 
black  figures  on  a  white  ground,  and  on  a  lekythos  in  the  British  Mu- 
seum (D  65)  which  with  some  hesitation  I  have  classified  under  Class 
V  (no.  9).  A  comparison  with  the  last-named  specimen  is  par- 
ticularly instructive.  On  the  London  lekythos  the  stele,1  table,  and 
basket  correspond  very  closely  to  the  same  objects  on  this  lekythos  at 
Athens;  but  instead  of  lekythoi  and  taeniae  in  the  basket,  a  lekythos 
and  a  smegmatotheke  stand  on  the  steps  of  the  stele,  and  it  is  an  ala- 
bastron  which  hangs  over  the  basket.  Further  the  woman  at  the  left 
holds  only  the  alabastron;  the  woman  at  the  right  holds  one  hand  over 
the  table  as  on  the  Athens  specimen,  but  in  her  right  hand  she  carries 
a  toilet  box  of  unusual  shape.  Not  only  do  the  attitudes  and  gestures 
correspond  very  closely  on  the  two  vases,  but  the  women  on  the  London 
vase  show  the  same  long  narrow  eyes  and  small  round  chin  as  those 
on  the  lekythos  at  Athens.  It  is  clear  that  the  maker  of  the  lekythos 
in  London  was  closely  following  the  type  of  scene  on  the  lekythos 
now  under  consideration,  even  while  he  finished  that  vase  in  quite  a 
different  technique.  Probably  the  two  vases  were  made  as  a  pair, 
though  some  differences  in  the  drawing  may  indicate  that  they  are  not 
from  the  same  hand.  If  they  are  contemporaneous,  the  fact  furnishes 
another  proof  that  this  was  a  period  of  experiment  in  technique,  and  it 

1  For  stelai  of  this  shape  cp.  Athens,  Nat.   Mus.  1928,  1935,  etc.,  under  Class  V,  and  Athens,  Nat. 
Mus.  1871-1872,  Class  VII  2,  nos.  43-44. 


GROUP  B:  CLASS  IV,  3,  20-21  169 

indicates  an  earlier  date  for  the  London  vase  than  might  be  inferred 
from  that  vase  alone.1 

21.  Athens,  Nat.  Mus.  1825,  Cv.  1632.  Eretria.  H.  0.30  m.  Atb. 
Mitth.  XV,  40,  Taf.  i. 

On  the  shoulder  egg-pattern  and  three  palmettes  with  two  lotus  buds;  the  ornament 
is  interrupted  by  the  prolongation  of  the  stele.  Above  the  scene  is  a  maeander  broken  by 
horizontal  crosses.  Slip  yellowish  green.  The  glaze  lines  of  the  outline  vary  from 
yellow  to  black,  and  a  thin  brown  glaze  is  used  for  the  lines  of  the  anatomy.  White 
accessories  and  dull  pink  garment. 

A  narrow  white  stele  rises  from  many  steps  on  an  altar-like  base.  At  the  left  stands 
a  woman  in  full  profile  holding  out  a  lekythos  in  her  right  hand  and  a  taenia  in  the  left 
hand.  She  wears  a  sleeve  chiton  drawn  in  outline  and  her  hair  is  all  in  a  cloth. 

At  the  right  a  youth  stands  en  face,  looking  at  the  stele,  on  which  he  is  placing  a  wreath 
with  his  right  hand;  he  wears  a  dull  pink  lmn.it ion  and  carries  a  stick  in  his  left  hand. 
The  artist  has  attempted  to  represent  him  with  the  left  leg  fully  relaxed,  and  details  of 
the  anatomy  of  the  body  are  added  with  more  care  than  accuracy.  The  upper  eyelid 
and  inner  contour  of  the  nostril  are  added. 

The  shoulder  ornament  with  lotus  buds  is  found  on  lekythoi  of  series 
2  of  the  present  group,  on  outline  lekythoi  of  the  first  series  in  Group 
C,  and  on  red-figured  lekythoi  of  the  early  fine  period.  The  presence 
of  this  ornament,  and  the  treatment  of  the  eye  and  nose  of  the  youth 
mark  this  vase  as  not  one  of  the  earliest  in  the  present  group.  The 
interest  of  the  vase  lies  not  so  much  in  its  early  date  as  in  the  fact  that 
the  painter  uses  types  of  figures  from  different  sources  in  connection 
with  a  stele  which  is  altogether  unique.  The  woman  at  the  left  is  one 
of  the  typical  women  of  Group  B,  but  the  artist  has  felt  at  liberty  to  omit 
the  himation  which  the  "  mistress  "  regularly  wears,  and  which  no 
doubt  would  always  be  worn  by  the  woman  going  to  the  tomb.  The 
youth  is  taken  from  red-figured  scenes  of  the  later  severe  style,  and  his 
himation  is  colored  in  the  dull  pink  characteristic  of  the  present  group. 
Both  figures,  however,  bring  objects  used  in  worship  at  the  grave  and 
are  engaged  in  decorating  the  stele.  The  stele  itself  can  hardly  be 
copied  from  reality.  It  is  unlikely  that  the  artist  intended  to  represent 
a  stele  behind  an  altar,  for  there  is  no  sufficient  reason  to  believe  that 
altars  like  the  base  here  shown  were  built  beside  grave  monuments. 
Rather  we  should  hold  that  the  painter  had  seen  the  slender  stele  used 
on  a  large  base,  and  that  the  particular  form  in  which  he  drew  this 
base,  like  the  particular  types  of  the  figures  on  each  side,  is  determined 
by  the  form  of  (altar)  base  which  was  customary  on  vases  of  the  period. 
For  once  the  painter  has  dropped  the  general  schema  of  the  vases  of 

1  Brit.  Mm.  Cat.  fatei,  III,  p.  407,  «« Late  ftagc  of  fine  iCyfe." 


1 70  ATHENIAN  WHITE   LEKYTHOI 

this  series,  and  while  there  is  little  or  no  originality  in  the  elements  he 
uses,  they  are  combined  to  produce  a  scene  the  theme  of  which  is  treated 
with  some  literalness  and  concreteness. 

22.  London,  Brit.  Mus.  D  47.  Gela.  H.  17^  in.  Cat.  Pases, 
III,  pi.  xxv. 

On  the  shoulder  an  egg-pattern,  then  three  palmettes  in  outline  (alternate  leaves 
filled  with  a  red-brown  wash)  and  two  lotus  buds.  Above  and  below  the  scene  is  a  maean- 
der  pattern  broken  with  horizontal  crosses;  below  this  are  two  purple  lines  on  the  black. 
Black  with  details  added  in  purple  or  in  white  is  used  for  garments  and  accessories;  a 
pitcher  and  one  garment  are  in  dull  purple  without  glaze  outline;  the  flesh  is  painted 
light  pink  instead  of  enamel-white.  The  preliminary  sketch  is  not  closely  fol- 
lowed. 

On  the  right  a  woman  in  profile  sits  on  a  chair  looking  down  at  a  wreath  which  she 
holds  in  both  hands;  she  wears  a  black  chiton  with  fringe  and  bands  of  color  on  the 
lower  edge,  and  a  purple  himation;  her  hair  is  looped  up  behind  and  held  by  a  fillet; 
on  each  arm  are  bracelets. 

A  woman  in  partial  profile  at  the  left  approaches  rapidly  and  holds  out  a  phiale  in  her 
left  hand;  in  her  right  hand  is  a  pitcher.  She  wears  a  white  sleeve  chiton  (glaze  fold- 
lines  in  sets  of  three)  and  a  black  himation  (purple  fold-lines).  Her  long  hair  falls  in  curls 
and  is  held  about  the  head  by  a  fillet  (reserved  white).  She  has  bracelets  and  ear-rings. 
Behind  her  is  a  slender  Ionic  column,  black  with  white  details,  and  between  the  two 
women  a  taenia  (black  with  purple  details)  is  festooned  in  the  field. 

This  vase,  like  the  last,  is  a  noticeable  example  of  various  elements 
combined  to  suit  the  purpose  of  the  painter,  but  here  the  unity  of 
purpose  is  quite  lacking.  The  seated  figure  looking  down  at  the  wreath 
which  she  holds  up  in  both  hands  belongs  distinctly  to  vases  of  the 
present  group  ;*  it  resembles  very  closely  the  last-named  vase,  also  from 
Gela,  in  such  details  of  drawing  as  the  treatment  of  the  hands,  the 
delicate  nose,  elongated  eyes,  and  round  chin.  The  figures  on  the 
lekythos  from  Eretria,  on  the  other  hand,  are  drawn  more  stiffly,  and 
the  upper  part  of  the  face  is  more  developed,  while  the  chin  is  relatively 
smaller.  The  figure  at  the  left,  which  is  entirely  out  of  relation  to  the 
seated  woman,  recalls  the  women  advancing  of  Group  A  (cp.  for  ex- 
ample Class  II,  no.  9,  Athens,  1906).  The  fold  of  her  skirt,  which  is 
blown  out  behind,  occurs  on  other  vases  of  this  group  where  a  woman 
is  represented  in  motion.  This  act  of  offering  a  phiale  to  a  companion 
is  not  necessarily  religious,  but  it  is  generally  to  be  interpreted  in  that 
way  on  vases;  on  that  supposition  the  column  at  the  left  may  stand  as 
the  symbol  of  a  temple.  Curiously  enough  the  other  two  vases  on  which 
pink  instead  of  white  is  used  for  the  flesh  of  women  (series  I,  nos.  2 

1  E.g.  series  i,  no.  24,  Athens,  1844;   no.  25,  Athens,  1826;  series  2,  no.  2,  Brit.  Mus.  D  20. 


GROUP  B:  CLASS  IV,  3,  22-24  171 

and  3)  also  have  this  sort  of  column,  and  in  the  second  instance  it  is 
evidently  intended  to  mean  a  temple. 

This  vase  betrays  unusual  care  on  the  part  of  the  maker,  both  in  the 
elaborate  use  of  color,  and  in  the  careful,  though  not  always  successful, 
lines  of  the  drawing.  The  lower  edge  of  the  chiton  on  the  woman  at 
the  left,  the  lower  folds  on  the  chiton  of  her  companion,  and  particularly 
the  attention  paid  to  the  upper  lines  of  the  chiton  of  the  left-hand  figure, 
have  received  much  more  care  than  was  usual  on  lekythoi  of  this  series. 
And  the  same  effort  for  originality  which  led  the  artist  to  seek  a  new 
combination  of  figures,  even  though  the  figures  were  not  new,  is  re- 
sponsible for  experiments  in  coloring  in  the  main  scene,  and  for  the 
unique  shoulder  ornament. 

23.  Syracuse  12952.     Camarina.     H.  0.30  m. 

On  the  shoulder  palmettes  with  lotus  buds;  the  palmettes  have  four  black  and  five 
red  leaves.  The  maeander  is  unbroken.  Traces  of  a  preliminary  sketch  with  a  dull 
point.  Drawn  in  rather  coarse  lines  of  brown  glaze. 

At  the  left  a  woman  stands  in  profile  holding  out  a  phiale  in  her  right  hand  and  carry- 
ing in  her  left  hand  an  oinochoe.  She  wears  a  sleeve  chiton  with  long  overfold  ungirded; 
her  hair  is  in  a  low  knot  at  the  back  of  the  head. 

Opposite  her  stands  a  youth  en  face,  carrying  a  laurel  twig  in  his  lowered  right  hand; 
he  grasps  a  high  staff  in  his  left  hand.  The  loosely  wrapped  himation  leaves  his  breast 
free. 

The  structure  of  the  scene  and  many  details  on  this  lekythos  recall 
no.  18  above,  which  was  also  found  at  Camarina.  On  the  previous 
vase  (no.  22)  a  figure  with  religious  meaning  is  combined  with  a  woman 
in  the  home;  here  both  persons  may  be  interpreted  as  religious,  both 
the  woman  bringing  a  libation  and  the  youth  with  the  laurel  branch. 
On  no.  26  of  Class  III  occurred  an  Apollo,  to  judge  from  red-figured 
types,  carrying  a  large  branch  of  laurel;  on  the  present  vase  the  dress 
is  the  normal  mantle  of  men  and  the  spray  of  laurel  is  rather  small ; 
if  the  painter  intended  the  figure  for  Apollo,  he  certainly  left  the  ref- 
erence rather  obscure  by  keeping  quite  closely  within  the  conventions 
of  this  series. 

24.  Berlin,  Inven.  3276.     H.  0.448  m. 

On  the  shoulder  are  bars  and  five  palmettes.  Slip  thin.  The  maeander  is  carelessly 
drawn  and  broken  by  horizontal  squares.  The  lines  of  the  drawing  are  all  quite  red, 
perhaps  as  the  result  of  fire.  Accessories  in  black,  or  in  white. 

At  the  left  a  seated  man  holds  a  sceptre  in  his  left  hand,  and  in  his  right  holds  out  a 
black  phiale  from  which  a  liquid  flows.  His  head  is  bowed  as  he  looks  at  the  phiale. 
He  wears  a  himation  and  his  long  hair  is  in  a  mass  at  the  back  of  the  head ;  ends  are  added 
to  the  hair  over  the  forehead,  and  to  the  beard. 


1/2  ATHENIAN  WHITE   LEKYTHOI 

At  the  right  stands  a  woman  holding  up  in  her  right  hand  a  white  torch  with  flame  in 
glaze.  She  wears  sleeve  chiton  and  a  large  himation  which  covers  the  left  arm. 

The  schema  of  the  seated  and  the  standing  figures,  both  in  profile, 
is  preserved  here,  but  there  is  no  evident  connection  between  the  two ; 
in  fact,  each  bends  the  head  forward  as  though  interested  in  his  own 
action.  The  woman  with  the  torch  has  been  discussed  under  Group 
A;  the  seated  man  pouring  from  a  phiale  is  evidently  a  king  performing 
a  religious  act,  unless  perhaps  Zeus  himself  is  meant.  The  absence  of 
black  silhouette  for  garment  or  accessories  is  an  indication  of  a  later 
date  than  most  of  this  series. 

25.  Athens,  Nat.   Mus.    1997,   Cv.    1644.      Eretria.      H.   0.205   m. 
AeXriof,  1890,  cr.  55,  16. 

On  the  shoulder  egg-pattern  and  three  palmettes.  Maeander  simple.  Slip  thin, 
dull.  Preliminary  sketch  including  garment  folds. 

At  the  left  stands  a  woman  in  full  profile,  holding  on  her  left  arm  the  peculiar  three- 
pointed  basket  (?)  which  appears  not  infrequently  in  religious  scenes.  She  wears  a 
black  sleeveless  chiton  (purple  fold-lines)  with  long  overfold  from  shoulder,  ungirded. 

At  the  right  a  woman  stands  body  and  feet  en  face,  looking  at  her  companion;  she 
holds  a  long,  black  taenia  in  both  hands,  which  are  dropped  at  her  side.  She  wears  a  chiton 
like  that  of  her  companion  except  that  it  is  drawn  in  outline;  by  a  wavy  line  at  the  right 
the  artist  indicates  that  this  is  a  Doric  chiton  open  all  down  the  right  side;  a  purple 
cord  is  wound  three  times  around  the  head  and  holds  the  hair  at  the  back  of  the  head. 

These  slender,  stiff  figures,  too  tall  for  the  space  at  the  artist's  dis- 
posal, correspond  to  the  type  of  figure  found  on  other  lekythoi  from 
Eretria;  and  the  scheme  of  two  standing  figures,  one  in  profile,  the  other 
en  face,  while  both  stand  squarely  on  both  feet,  occurs  again  and  again. 
On  this  small  vase  the  accessories  which  ordinarily  suggest  the  setting 
of  the  scene  are  missing;  the  taenia  is  doubtless  for  use  at  the  grave, 
but  after  becoming  familiar  with  the  habit  of  the  artist  in  composing 
scenes  on  the  last  few  vases,  the  student  would  hardly  be  so  rash  as  to 
suggest  that  this  sacrificial  basket,  if  such  it  be,  has  anything  to  do  with 
worship  at  the  grave.  Its  sides,  rising  in  three  or  four  points,  apparently 
are  made  of  wicker  work,  and  often  are  higher  and  more  slender  than 
in  the  present  instance.  It  differs  from  the  basket  found  in  scenes  of 
worship  at  the  grave  in  its  shape,  and  in  the  fact  that  no  vase,  taenia, 
or  sacrificial  instrument  is  ever  represented  as  carried  in  it,  nor  does  the 
person  carrying  it  ever  take  anything  out  of  it. 

26.  Tarentum.     Atb.  Mitth.  XV,  58,  no.  16. 

Fragments  of  a  vase,  wrongly  restored  with  the  following  number.  Above  the  scene 
is  a  maeander  broken  by  horizontal  crosses.  Red  chiton  with  dark  red  fold-lines;  white 
himation. 


GROUP  B:  CLASS  IV,  3,  25-28  173 

"Eine  nach  links  gewendete  Frau,  bekleidet  mit  rotem  Chiton  mit  dunkleren  Falten 
and  weiss  aufgehdhtem  Himation,  das  vorne  quer  iiber  den  Korper  geht  und  iiber  dem 
linken  Arm  herabfallt,  halt  iiber  einem  Altar  mit  Opferflamme  (?)  zwei  brennende 
Fackeln."  Part  of  a  wing  marks  the  figure  as  Nike. 

27.  Tarentum.     Ath.  Mittb.  XV,  59,  no.  17. 

Technique  like  that  of  the  last  specimen.  Three  fragments  belong  together. 
"  I.  Bekleidetes  Bein  nach  rechts,  Gewand  weiss  aufgehoht;  rechts  davon  ein  Rehkalb 
(rot  mit  weissen  Tupfen)  nach  links  mit  emporgehobenem  Kopf  und  einem  Zweig  im 
Maul.  2.  Hinterkorper  des  Rehs.  3.  Der  zu  einem  Bein  gehorige  Fuss." 

28.  London,  Private  Collection.     H.  about  0.30  m. 

On  the  shoulder  an  egg-pattern,  then  three  palmettes  and  two  lotus  buds.  Above 
the  scene  the  maeander  is  broken  by  the  oblique  cross.  White  and  thin  glaze  are  added 
for  parts  of  the  lyre.  Preliminary  sketch  in  the  soft  clay. 

At  the  left  a  male  figure  stands  in  profile,  singing,  with  head  thrown  back;  in  his  left 
hand  is  a  cithara  with  sash,  and  in  his  right  a  plectron.  He  wears  a  large  shawl  which 
falls  over  both  arms  to  the  ground,  and  is  covered  with  small  circles;  a  taenia  is  about  his 
short  hair. 

Opposite  him  stands  Nike,  both  wings  raised  behind  her,  holding  out  a  slender 
taenia  in  both  hands.  She  wears  a  sleeve  chiton,  with  fold  falling  from  girdle.  Each 
figure  stands  squarely  on  both  feet.  In  the  field  an  imitation  inscription. 

This  vase,  like  the  Tarentum  fragments,  has  a  scene  which  is  quite 
out  of  line  with  that  on  the  earlier  members  of  the  series,  and  neither 
black  nor  a  wash  color  is  used  for  the  garments;  white,  however,  is 
used  for  the  flesh  of  the  Nike,  and  the  two  figures  in  profile,  each  stand- 
ing squarely  on  both  feet,  repeat  the  common  schema  of  the  class. 
A  vase  of  about  this  same  period  in  the  red-figured  technique  f  repre- 
sents Nike  pouring  a  libation  for  Apollo,  who  carries  the  same  type 
of  lyre  but  is  not  singing.  The  singer  is  depicted  with  head  thrown 
back  on  later  black-figured  ware  2  and  on  red-figured  ware  of  the 
severe  style.3  The  peculiar  garment  which  this  singer  wears  seems 
to  be  the  traditional  garment  of  the  public  musician;  certainly  it  is 
worn  by  the  flute  player  often  on  black-figured  vases,  and  occasionally 
on  ware  of  the  later  technique.4  In  spite  of  many  points  of  likeness 
with  the  series  from  Eretria,  most  of  which  have  scenes  from  domestic 
life,  these  vases  with  other  scenes  represent  quite  a  distinct  tendency 
in  vase  painting;  they  are  more  closely  allied  to  the  red-figured  work 
of  the  period,  and  consequently  are  not  so  bound  to  the  particular  type 

1  Annali  d.  lust.  1833,  pi.  B;  cp.  also  Comftet  renjui,  Atlas,  1875,  pi.  v,  I. 

8  Man.  latt.  IV,  pi.  xi,  Brit.  Mm.  B  167.  »  E.g.  Mt>*.  ha.  1856,  pi.  xnr,  Lowrre. 

4  E.g.  Brit.  Mus.  E  455  and  456,  Gerhard,  Mm.  faun.  T«f.  155. 


i74  ATHENIAN  WHITE   LEKYTHOI 

of  this  series  of  lekythoi.     The  present  vase  gives  a  red-figured  scene 
with  no  change  except  what  is  due  to  the  limitation  to  two  figures. 

29.  Athens,  Nat.  Mus.  1754  (Coll.  679),  Cv.  1626.  Athens.  H. 
0.40  m.;  Cir.  0.43  m.  Dumont-Chaplain,  I,  pi.  xxxvii;  Heydemann, 
Griecb.  Vas.  S.  7,  A.  23,Taf.  viii;  Atb  Mitth.  XV,  48,  no.  4. 

On  the  shoulder  three  palmettes  with  an  even  number  of  black  leaves  and  odd  num- 
ber of  dull  red  leaves.  Above  and  below  the  scene  there  is  a  maeander  broken  by  hori- 
zontal crosses.  Light  red,  black  with  purple  lines,  and  white  with  dark  lines  are  used 
for  garments,  etc.  The  preliminary  sketch  in  the  soft  surface  gives  some  fold-lines  which 
were  not  added  in  color. 

At  the  right  Demeter  stands  in  partial  profile,  holding  a  sceptre  and  a  sheaf  of  corn. 
She  wears  a  sleeve  chiton,  black  with  purple  detail,  and  a  light  red  himation,  the  folds  of 
which  were  not  added  in  the  completed  sketch;  a  crown  is  on  her  head,  and  the  himation 
covers  the  long  braid  or  coil  of  hair  which  hangs  down  the  back. 

At  the  left  Kore  stands  in  full  profile,  pouring  from  a  phiale  in  her  right  hand,  and 
holding  up  a  torch  in  her  left  hand.  She  wears  sleeve  chiton  drawn  in  outline,  and  hima- 
tion, white  with  dark  fold-lines.  Her  hair  is  looped  over  the  ear  and  hangs  in  a  long  coil 
or  braid;  about  the  head  is  a  narrow  taenia. 

The  vase  is  larger  and  more  careful  than  most  of  the  series,  though 
there  is  nothing  like  the  attention  to  detail  which  is  found  on  the  Bonn 
fragment  (no.  5).  The  general  schema  only  differs  from  the  ordinary 
type  in  that  one  of  the  figures  is  neither  in  full  profile  nor  fully  en  face, 
and  in  that  both  of  them  wear  the  same  kind  of  garment.  The  stiff- 
ness with  which  they  stand  and  the  treatment  of  the  hair,  on  the  other 
hand,  are  quite  characteristic  of  the  present  group.  The  attributes 
of  the  two  goddesses  are  not  repeated  with  such  constancy  that  it 
is  possible  to  name  them  definitely.  The  attributes  of  the  queen  belong 
to  Kore  when  she  is  represented  with  her  husband,  to  Demeterwhen  she 
is  with  her  daughter  and  when  Hades  is  not  present.  In  the  Trip- 
tolemos  myth  especially  the  crown  and  sceptre  and  the  sheaf  of  corn 
belong  to  Demeter,  because  it  is  as  the  queen  of  the  earth  that  she  sends 
out  to  men  the  gift  of  the  grain.  So  the  torch  belongs  to  Demeter  in 
the  myth  of  her  search  for  Persephone,  but  where  the  latter  appears 
as  the  attendant  of  her  mother  in  other  Eleusinian  myths  she  very 
naturally  has  the  torch.  Again,  in  these  libation  scenes  it  is  the  sister 
who  brings  the  libation  to  her  brother  god,  the  wife  to  her  husband, 
the  daughter  to  her  mother.  These  two  figures,  then,  may  be  named 
with  some  confidence,  though  they  are  often  confused  by  the  vase 
painter.  A  scene  at  first  sight  very  like  this  is  found  on  a  vase  pub- 
lished by  Tischbein.1  A  column  stands  between  the  two  standing 

1  Engravings  from  Ancient  Pases,  III,  56. 


GROUP  B:  CLASS  IV,  3,  29-30  175 

figures,  and  in  this  instance  it  is  Persephone  the  queen  who  brings  a 
libation  to  Demeter  with  torches,  the  Demeter  who  has  been  seeking 
her  daughter;  in  spite  of  the  different  conception  of  the  scene,  the 
lines  of  the  figures  are  very  like  those  of  the  white  lekythos  at  Athens. 

The  suggestion  of  Dumont  that  the  two  goddesses  are  here  the  god- 
desses of  the  dead  is  emphatically  rejected  by  Weisshaupl  '  and  the 
scene  is  classed  with  such  other  mythological  scenes  as  the  representa- 
tions of  Nike,  Eros,  etc.  There  can  be  no  question  that  it  is  a  mytho- 
logical scene,  one  of  relatively  few  which  are  found  on  lekythoi  of  this 
group.  It  might  appear  in  just  this  form  on  a  red-figured  vase  of  some 
other  shape.  Still  the  fact  remains  that  the  use  of  these  lekythoi  in 
connection  with  burial  was  becoming  general  at  the  time  when  lekythoi 
of  this  style  were  the  fashion;  under  these  circumstances  it  is  hardly 
possible  that  this  mythological  scene  should  not  have  recalled  the  lower 
world,  the  proper  realm  of  the  two  goddesses,  to  the  Greeks  for  whom 
the  lekythos  was  made. 

30.  Athens,  Nat.  Mus.  1983,  Cv.  1065.  Eretria.  H.  0.33  m. 
AeXrt'oi',  1889,  cr.  227,  2;  Jour.  Hell.  Stud.  1896,  p.  172. 

The  shape  of  the  body  is  retreating  from  the  shoulder  downward.  Neck  white  with 
a  band  of  black  ivy  leaves  and  fruit,  then  four  lines  below;  on  the  shoulder  are  five  pal- 
mettes  with  red  and  black  leaves,  and  stars  in  the  field.  Above  and  below  the  scene  is  a 
maeander  pattern,  broken  by  horizontal  crosses.  Slip  rather  thin.  Bright  red  garment, 
black  for  accessories. 

Two  Amazons  stand  facing  each  other;  they  wear  short  red  chitons,  red  anaxyridts, 
and  Phrygian  caps.  One  rests  one  hand  on  her  hip  and  in  the  other  carries  a  spear. 
Her  companion  holds  out  a  corselet.  In  the  field  is  a  swan,  and  above  hangs  a  battle-axe. 

The  shape  of  this  lekythos,  with  its  body  retreating  from  the  shoulder, 
is  a  relic  of  earlier  types;  a  lekythos  with  black  figures  on  a  white  slip, 
now  at  Athens  (Nat.  Mus.  1948),  is  one  of  the  later  specimens  in  which 
it  occurs.  The  peculiar  ornamentation  of  the  neck  and  shoulder  has 
been  discussed  under  no.  20  above  (Athens,  Nat.  Mus.  1982),  on  which 
this  same  ornamentation  is  repeated.  On  the  other  two  vases  with  this 
ornamentation  a  grave  scene  is  depicted;  scenes  from  the  story  of  the 
Amazons  are  a  favorite  theme  with  painters  of  red-figured  ware,  and  . 
on  two  lekythoi  of  series  I  in  the  present  class  (nos.  18-19)  tne  subject  is 
an  Amazon  arming  herself.  The  likeness  between  no.  20  of  the  present 
series  and  the  vase  now  under  consideration  is  sufficient  to  make  it 
probable  that  the  three  lekythoi  with  this  peculiar  ornamentation  of 
neck  and  shoulder  were  made  at  about  the  same  time  as  the  other 

»  Atk.  Mink.  XV,  48. 


176  ATHENIAN  WHITE   LEKYTHOI 

members  of  the  series.  On  an  outline  lekythos  of  this  class  an  Amazon 
scene,  though  purely  mythological,  suggests  that  the  vase  was  used  in 
the  domestic  life  of  women,  just  as  the  Demeter-Kore  scene  suggests 
that  that  vase  was  made  to  be  used  in  connection  with  burial. 

While  no  definite  line  separates  in  time  the  three  series  of  lekythoi  in 
Class  IV,  the  traces  of  connection  with  earlier  classes  are  gradually 
disappearing  and  the  later  type  appearing  with  greater  consistency. 
In  the  lekythoi  of  series  3  the  mouth  still  flares  slightly  at  the  upper 
edge,  but  the  other  lines  of  the  vase  and  the  shape  of  the  foot  follow  the 
later  type  except  in  a  few  instances.  On  the  white  shoulder  there  is 
first  the  egg-pattern,  then  a  pattern  of  scrolls  and  three  palmettes  with 
red  and  black  (or  only  black)  leaves;  these  elements  are  not  arranged 
just  in  the  manner  that  is  customary  on  later  lekythoi,  but  the  difference 
is  slight.  Several  times  the  lotus  buds  are  added  as  on  the  lekythoi  of 
the  preceding  series;  but  these  vases  show  other  deviations  from  the 
type  which  is  most  common  in  this  series,  and  none  of  them  come  from 
the  vicinity  of  Eretria,  where  many  of  the  typical  specimens  were  found. 
The  slip  varies  from  a  light  brown  to  a  dull  dark  brown,  and  only  once 
is  greenish  and  almost  creamy  in  its  consistency.  Above  the  scene 
the  maeander  is  broken  by  horizontal  crosses  on  fully  half  the  speci- 
mens; the  oblique  crosses  which  in  later  classes  almost  entirely  sup- 
plant the  horizontal  ones,  are  found  on  several  of  the  most  typical  of 
the  lekythoi  in  this  series.  The  purple  lines  below  the  scene  are  no 
longer  found,  but  on  two  of  these  vases  the  maeander  pattern  is,  by 
exception,  repeated  on  the  lower  edge  of  the  slip.  A  preliminary 
sketch  is  found  on  less  than  half  of  this  series.  As  the  scenes  become 
stereotyped,  the  need  of  such  aid  grows  less,  and  it  is  often  impossible 
to  detect  any  traces  of  an  outline  sketch  in  later  classes.  The  character- 
istic marks  of  the  group,  the  drawing  in  coarse  glaze  lines,  and  the  use 
of  enamel-white  for  the  flesh  of  the  women  are  found  universally,  with 
the  single  exception  that  on  one  vase  from  Gela  pink  instead  of  white 
is  used  for  the  flesh.  Only  two  of  the  thirty  in  the  series  show  no  trace 
of  color,  and  on  these  it  may  have  faded.  The  dull  pink  and  the  thin 
bright  red  are  found  several  times,  and  there  are  some  experiments  in 
the  use  of  color,  such  as  the  series  of  parallel  red  lines  close  together 
on  no.  15;  one  of  the  noticeable  characteristics  of  the  series,  however, 
is  still  the  presence  on  almost  every  vase  of  a  himation  in  black  with 
fold-lines  added  in  a  thick  purple.  The  use  of  a  silhouette  color  is  all 
but  discontinued  after  the  present  class. 


GROUP  B:  CLASS  IV,  3,  CONCLUSION  177 

The  scene  itself  consists  of  but  a  single  figure  on  only  three  speci- 
mens; and  the  contrast  between  this  and  the  two  previous  series  is 
further  marked  by  the  fact  that  the  scenes  consisting  of  a  single  figure 
in  those  series  seemed  to  be  adapted  from  scenes  in  Group  A,  while 
these  three  vases  have  a  scene  which  is  adapted  from  the  domestic 
scene  with  two  figures  that  is  so  common  in  Group  B.  Of  the  scenes 
with  two  figures  eight  are  purely  domestic  and  refer  to  the  life  of  women 
in  the  home;  twelve  suggest  the  worship  of  the  dead,  but  on  ten  of 
these  it  is  the  preparation  at  home  to  carry  offerings  to  the  grave  that 
is  depicted;  and  nine  have  to  do  with  religion  and  mythology,  though 
four  or  five  of  these  also  have  to  do  with  acts  that  take  place  in  the  home. 
Some  object  in  the  field  to  indicate  the  setting  is  found  on  fully  half 
these  vases.  A  hanging  mirror  or  oinochoe  or  sakkos,  a  chair  or  di- 
phros,  a  pet  bird,  indicate  the  gynaikeion;  the  smegmatotheke  or  the 
jewel-case  in  the  hands  of  the  maid  suggest  that  the  toilet  is  being 
made;  or  taeniae  and  lekythoi,  whether  hung  on  the  wall,  in  the  hand, 
in  a  basket,  or  on  the  grave  stele,  are  symbols  of  worship  at  the  grave. 

So  far  as  the  arrangement  and  drawing  of  the  scene  are  concerned, 
it  is  not  difficult  to  describe  a  type  to  which  most  of  these  lekythoi 
conform  with  considerable  exactness.  Six  or  seven  of  them  stand 
somewhat  by  themselves:  nos.  26-28,  all  three  probably  found  in 
Italy,  are  more  closely  related  to  the  red-figured  ware  of  the  period  than 
to  the  other  lekythoi  of  this  series;  nos.  20  and  30  differ  from  the  type 
in  scene  as  well  as  in  ornamentation;  finally,  nos.  21  and  22,  one  from 
Gela  and  one  from  Attica,  show  a  curious  combination  in  the  scene  of 
figures  which  do  not  belong  together.  With  the  exception  of  the  seven 
lekythoi  just  mentioned,  one  fairly  well-marked  type  prevails.  The 
lekythoi  which  approximate  to  this  type  were  found  in  Attica  and  near 
Eretria,  most  of  them  near  Eretria  on  the  island  of  Euboea.  In  the 
case  of  all  these  the  scene  may  be  regarded  as  in  the  home.  One 
figure  is  in  full  profile,  either  sitting,  or  standing  squarely  on  both  feet, 
one  foot  slightly  in  advance  of  the  other;  the  second  figure  is  standing, 
either  in  full  profile  like  the  first,  or  squarely  en  face  with  only  the  face 
turned  toward  her  companion.  Almost  no  attempt  is  made  to  show  a 
"  Spielbein  "  or  to  draw  the  figure  in  partial  profile;  and  the  attempts 
which  are  made  are  quite  unsuccessful.  The  figures  are  unduly 
slender,  and  stiffly  as  they  stand,  the  lines  of  the  garments  are  not  other 
than  graceful.  Normally  one  of  the  women  has  a  sleeve  chiton  and 
himation,  and  her  companion  has  the  simpler  attire  of  a  servant,  a 
sleeveless  chiton  with  ungirded  overfold.  This  simple  schema  is 


i/8  ATHENIAN  WHITE   LEKYTHOI 

capable  of  more  or  less  variation  and  we  find  now  two  women  in  the 
same  attire,  now  a  man  and  woman;  or  again  the  variety  is  gained  by 
changing  the  gestures  and  the  objects  carried.  The  ordinary  treatment 
of  the  hair  —  covered  with  a  cloth,  or  bound  with  a  cord,  or  supported 
by  a  taenia  —  is  usually  found;  in  a  good  many  instances,  however,  it 
is  gathered  in  a  long  coil  or  braid,  the  end  of  which  is  perhaps  covered 
with  a  cloth.1  While  some  of  the  women  carry  an  alabastron,  a  taenia, 
or  some  other  object,  the  commonest  object  is  a  smegmatotheke  (either 
solid  white  or  solid  black);  a  large  box  also  is  fairly  common.  In  the 
case  of  the  domestic  scenes  a  mirror  or  sakkos  or  oinochoe  usually 
hangs  in  the  field;  accessories  hanging  in  the  field  do  not  occur  regu- 
larly in  the  other  scenes. 

The  inscriptions  are  particularly  interesting  because  the  name  of  the 
father  of  the  kalos  youth  is  ordinarily  given,  and  this  fact  helps  to 
identify  the  persons  in  question.  These  three-line  inscriptions  are 
limited  to  a  comparatively  brief  period.  They  do  not  occur  in  any 
previous  series  of  outline  lekythoi,  and  in  the  later  series  there  are  only 
some  two  specimens,  both  of  these  on  lekythoi  of  about  the  same  date 
as  the  present  series.  They  are  found  on  a  few  red-figured  lekythoi 
with  shoulder  pattern  like  that  on  series  2,2  and  very  rarely  on  vases  of 
other  shapes.  The  names  have  been  discussed  as  they  occur,  and  it 
has  been  shown  that  Glaukon  and  Diphilos  and  Lichas  are  names  of 
youths  who  would  probably  receive  the  epithet  kalos  not  far  from  the 
year  460  B.C.  The  general  style  of  these  vases,  particularly  those 
with  domestic  scenes,  agrees  with  the  date  thus  reached;  while  oc- 
casional specimens  may  have  been  made  in  this  technique  after  the 
middle  of  the  century,  the  use  of  it  seems  to  have  been  brought  to  a 
rather  abrupt  conclusion  a  little  before  450  B.C. 


Conclusion  of   Class  IF  (Group    B) 

The  study  of  the  three  series  under  the  present  class  has,  I  believe, 
justified  the  principle  of  division  according  to  the  ornament  of  the 
shoulder;  it  has  become  clear  that  these  three  series  succeed  one  another 
in  time,  while  they  almost  certainly  overlap  to  some  extent.  Series  I 
has  the  shoulder  ornament  of  Class  II ;  series  2,  an  ornament  used  on 

1  Cp.  Naples  3164  (1333,  2277),  on  which  the  scene  belongs  to  the  same  type  of  domestic  scene  as  is 
found  on  this  series  of  outline  lekythoi.      Cp.   also  the  hair  of  Athena  on  a  vase  in  the  British   Museum, 
E  445,  and  on  a  stamnos  published  by  Gerhard,  Aus.  fascn,  Taf.  300. 

2  Discussed  by  Bosanquet,  Jour.  Hell.  Stud.  1896,  p.  165. 


CONCLUSION  OF  CLASS  IV  (GROUP  B)  179 

red-figured  lekythoi  of  just  this  period ;  and  series  3,  an  ornament  which 
approximates  to  the  ornament  used  on  lekythoi  of  Group  C.  Two- 
thirds  of  the  lekythoi  in  series  I  have  only  one  figure  and  the  scenes 
are  adapted  from  the  scenes  used  in  Classes  I -I  II;  in  series  3  only 
one-tenth  of  the  specimens  have  but  one  figure,  and  these  instances  are 
abbreviated  from  the  domestic  scenes  in  which  two  figures  are  usual. 
Several  specimens  in  the  first  two  series  have  the  two  purple  lines  on 
the  black  below  the  scene  as  in  Class  I;  in  series  3  this  has  disappeared, 
and  the  maeander  also  is  modified  in  the  direction  of  what  is  common 
in  Group  C.  No  change  takes  place  in  the  general  shape,  but  the  later 
type  of  foot  has  become  normal  in  series  3.  In  the  first  series  only  one- 
third  of  the  scenes  can  be  classed  as  domestic;  in  the  third  series  three- 
fourths  of  the  scenes  are  located  in  the  house,  and  half  this  number 
have  no  reference  to  anything  going  on  outside.  Grave  scenes  are 
found  in  greater  number  than  in  Group  A,  but  the  percentage  of  them 
does  not  increase  within  this  group;  the  fact  that  they  do  occur  in  some 
number  proves  that  lekythoi  were  now  generally  used  in  the  worship 
of  the  dead.  Dull  red,  or  some  similar  color,  was  used  on  more  than 
half  the  lekythoi  of  series  I  and  on  nearly  all  those  of  series  3;  solid 
black  had  been  used  occasionally  for  a  garment  in  Group  A,  but  it 
is  particularly  characteristic  of  the  present  group;  black  or  black  with 
added  lines  in  purple  occurs  on  one-third  of  the  lekythoi  in  series  I, 
on  two-thirds  of  those  in  series  2,  and  on  more  than  half  of  those  in  the 
last  series.  In  a  word,  lekythoi  of  series  I  show  many  points  of  con- 
nection with  Group  A,  and  those  of  series  3  with  Group  C;  the  similarirv 
in  drawing  between  particular  specimens  qf  this  last  series  and  two 
styles  in  Class  V  has  been  noted  above. 

But  while  the  three  series  succeed  each  other  in  time  and  mark  a 
gradual  change  from  one  main  group  to  the  main  group  (C)  that  follows, 
the  features  of  Group  B  are  so  marked  that  it  is  hardly  necessary  to 
state  them  again.  Not  only  the  use  of  rather  coarse  lines  of  glaze, 
which  varies  in  color  from  black  to  light  yellow,  and  the  white  enamel 
which  is  used  almost  without  exception  for  the  flesh  of  women,  but  also 
the  type  of  the  individual  figures,  the  style  of  drawing,  and  the  general 
schema  of  the  scene  are  so  distinctive  that  often  one  characteristic 
alone  would  be  sufficient  to  show  that  a  lekythos  belongs  to  this 
group. 

The  differentiation  of  outline  lekythoi  with  a  white  slip  from  both 
black-figured  and  red-figured  ware  began  in  Group  A.  The  method 
of  procedure  in  making  the  white  lekythoi  of  Group  B  is  still  much  the 


i8o  ATHENIAN  WHITE   LEKYTHOI 

same  as  in  the  more  common  ware  of  the  period.  The  preliminary 
sketch  in  the  soft  clay  with  a  dull  point  is  found  on  many  of  these 
lekythoi;  black  glaze,  either  in  masses  or  in  lines,  is  the  material  most 
used;  and  the  dull  purple,  applied  either  in  lines  on  a  black  ground  or 
solidly  on  the  white  surface,  is  much  the  same  purple  which  was  used 
already  by  the  maker  of  black-figured  vases.  In  fact,  almost  the  only 
addition  to  the  resources  of  the  painter  is  a  bright  red  which  is  applied 
in  different  degrees  of  thickness.  On  the  other  hand,  the  makers  of 
these  lekythoi  had  developed  a  distinct  type  of  female  figure  which  is 
rarely  found  on  red-figured  vases,  and  the  schema  of  the  scene  is  peculiar 
to  the  white  lekythoi.  It  is  only  on  a  few  red-figured  lekythoi  with  red 
figures  on  the  shoulder  that  the  scenes  approximate  to  those  on  the  white 
lekythoi  of  the  present  group. 

A  peculiar  interest  attaches  to  the  apparent  connection  between  the 
lekythoi  of  this  group  and  the  scenes  depicted  on  Attic  grave  stelai. 
On  the  stelai  as  on  these  lekythoi  the  scene  is  usually  domestic  in  char- 
acter. The  mistress  and  slave,  the  commonest  type  on  the  lekythoi,  is 
found  on  many  of  the  earlier  grave  monuments,  as,  e.g.  the  seated  mis- 
tress and  slave  l  (Athens,  Nat.  Mus.  732  A),  the  girl  bringing  a  jewel 
box  to  her  mistress  2  ("  Hegeso  "  monument),  or  the  attendant  bringing 
a  child  to  its  mother3  (Jour.  Hell.  Stud.  1884,  pi.  xxxix).  On 
some  of  the  earlier  lekythoi 4  the  woman  is  seated  alone,  as  on  the  grace- 
ful "Mynno  "  stele  in  Berlin.5  On  later  grave  monuments  a  woman  is 
playing  with  a  bird  6  or  a  youth  with  his  dog  7  as  on  some  of  these  leky- 
thoi. Most  of  the  grave  reliefs  are  at  least  half  a  century  later  than  the 
lekythoi  of  this  group,  an4  it  would  be  unreasonable  to  suggest  that  the 
sculptors  were  influenced  in  any  large  degree  by  the  quite  insignificant 
lekythoi.  Rather  we  should  infer  that  the  Greek  thought  of  the  dead 
shaped  itself  in  some  measure  in  connection  with  the  lekythoi  which 
were  used  in  great  numbers.  The  type  of  scene  on  the  lekythoi  soon 
changed,  but  the  thought  of  the  dead  wife  and  mother  as  engaged  in 
the  ordinary  occupations  of  the  home,  was  so  natural  and  so  simple,  so 
thoroughly  in  line  with  Greek  sentiment,  that  it  persisted  and  found 
nobler  expression  in  the  sculptor's  work. 

1  Series  i,  no.  25,  Athens,  Nat.  Mus.  1826;  Series  3,  no.  6,  Bonn,  Jour.  Hell.  Stud.  1896,  pi.  iv. 

2  Series  3,  no.  8,  Collection  Tyszkiewicz,  Sale  Catalogue,  p.  14,  no.  15. 

3  Ibid.  no.  7,  Berlin,  Furtw.  2443 

4  Series  2,  no.  2,  London,  Brit.  Mus.  D  20;  cf.  series  2,  no.  9,  Athens  Nat.  Mus.   1987. 
6  Furtw.  Sammlung  Sabouroff. 

6  Series  2,   no.    10,   Athens,   Nat.    Mus.    2032;  cf.   Gardner,   Sculptured    Tombs   of  Hellas,   pi.  xxx ; 
pi.   xviii. 

7  Series  I,  no.  28,  Athens,  Nat.  Mus.  1913  ;  cf.  Gardner,  Ibid.  pi.  xiii,  xv. 


CONCLUSION  OF  CLASS  IV  (GROUP  B)  181 

This  comparison  between  the  scenes  on  lekythoi  and  on  grave  monu- 
ments raises  the  question  as  to  the  purpose  for  which  the  lekythoi  with 
domestic  scenes  were  destined.  While  it  is  possible  that  this  type  of 
scene  was  introduced  as  expressing  the  Greek  thought  of  the  dead, 
it  is  more  natural  to  assume  that  this  scene  —  like  the  later  grave  scene 
-  was  in  line  with  the  use  of  the  vase.  The  prevalence  of  scenes  from 
domestic  life  on  vases  of  other  types  at  just  this  period  rather  tends  to 
confirm  this  view.  Still  it  cannot  be  denied  that  lekythoi  with  domestic 
scenes  were  used  for  funeral  purposes;  as  indeed  almost  all  the  leky- 
thoi we  have  were  preserved  to  us  in  graves.  Two  such  vases  '  show 
indications  of  having  been  exposed  to  fire  after  being  broken,  and  it  is 
well  known  that  at  times  vases  used  at  the  funeral  were  broken  as  a  part 
of  the  ceremony.  The  lekythoi  found  at  Eretria,  however,  were  buried 
intact,  and  many  of  them  have  been  recovered  in  almost  perfect  con- 
dition. 

This  is  the  only  group  of  lekythoi  in  which  inscriptions  play  any 
important  part,  and  here  they  are  found  on  nearly  a  quarter  of  the 
specimens  preserved.  Their  presence  can  only  be  interpreted  to  mean 
that  individual  vases  of  this  group  were  more  highly  esteemed  —  or  the 
potters  sought  for  them  a  higher  esteem  —  than  in  the  case  of  other 
white  lekythoi.  It  has  already  appeared  that  the  names  in  these 
inscriptions  were  from  well-known  families  at  Athens,  and  that  the 
persons  are  more  easily  placed  because  on  some  half  a  dozen  vases  the 
names  of  father  and  son  appear  together.  Thus  the  very  limited  period 
in  which  these  lekythoi  found  favor  is  marked  not  only  by  a  definite 
style  of  drawing  and  ornamentation,  but  also  by  the  names  of  Glaukon, 
son  of  Leagros,  Diphilos,  son  of  Melanopos,  Lichas,  son  of  Samios,  etc. 
Probably  most  of  these  vases  date  from  the  ten  or  twenty  years  before 
the  middle  of  the  fifth  century  B.C.,  though  a  few  isolated  specimens 
may  be  even  ten  years  later. 

1  Scries  3,  no.  7,  Berlin  2443  ;  and  series  3,  no.  14. 


GROUP  C.     LEKYTHOI   WITH  WHITE   SLIP:    THIN  GLAZE   USED 
FOR   DRAWING  THE   SCENE 

The  third  main  group  of  lekythoi  is  like  the  second  in  that  thin  glaze 
is  used  for  at  least  a  part  of  the  drawing,  though  the  lines  are  finer  and 
drawn  with  greater  care  than  in  the  case  of  vases  belonging  either  to 
Group  B  or  Group  D.  For  the  first  time  there  appears  the  fine  white  slip 
which  is  characteristic  of  the  best  Attic  lekythoi;  this  is  found  on  all 
except  a  small  transitional  group,  which  have  a  glaze  of  the  same  quality 
but  of  a  yellow  color.  There  is  little  or  no  variation  in  the  shape  and 
size  of  these  lekythoi  or  in  their  ornamentation.  The  neck  is  black,  the 
shoulder  is  covered  with  a  white  slip  on  which  a  palmette-scroll  orna- 
ment is  drawn  in  glaze  with  occasional  use  of  dull  color,  and  over  the  main 
scene  is  a  maeander,  either  continuous  or  interrupted  by  other  orna- 
ments. Both  the  shoulder  ornament  and  the  maeander  tend  to  assume 
definite  typical  forms.  Considerable  care,  sometimes  great  care,  in 
the  drawing  goes  with  the  larger  size  and  fine  slip  of  these  lekythoi;  at 
the  same  time  a  slightly  different  technique  was  adopted  for  the 
cheaper  ware,  a  technique  sufficiently  marked  so  that  the  cheaper 
vases  constitute  a  distinct  class,  Group  D.  While  the  use  of  glaze 
in  solid  masses,  except  for  an  occasional  black  garment  with  purple 
fold-lines,  has  entirely  disappeared,  the  use  of  dull  color  for  gar- 
ments and  accessories  is  far  more  general.  The  range  of  colors  used 
for  this  purpose  is,  however,  still  somewhat  limited. 

Within  this  group  are  two  definitely  marked  classes :  — 

Class  V.  All  the  drawing  in  glaze;  some  vases  allied  to  those  in 
the  preceding  classes;  inscriptions  rarely  occur. 

Class  VI.  Some  of  the  drawing  in  glaze,  but  either  the  maeander 
(and  shoulder  ornament)  or  the  main  scene  in  outlines  of  dull  color; 
many  vases  allied  to  those  in  which  only  dull  color  is  used  for  the  out- 
lines; no  inscriptions. 

182 


GROUP  C:  CLASS  V,  i 


'83 


CLASS  V.     Lekytboi  with  white  slip  ;   drawing  all  in  thin  glaze. 

The  vases  of  the  present  class  are  arranged  in  smaller  series  for  the 
sake  of  discussion.  In  general  no  sharp  line  distinguishes  one  series 
from  another,  so  that  they  are  numbered  consecutively;  at  the  same 
time  it  is  clear  that  such  a  series  as  that  which  Bosanquet  calls  the 
"  Hygiainon  class,"  or  the  "  lotus  bud  series,"  represents  a  single 
workshop  or  school  of  artists.  Most  of  the  lekythoi  which  have  real 
artistic  value  belong  to  the  present  class. 

a.  Slip  yellowish;  generally  two  lotus  buds  between  the  palmettes  on 
the  shoulder. 

i.    Berlin,  Furtw.  2444.     Athens.     H.  0.27  m.     (Fig.  41.) 

Below  the  egg-pattern  on  the  shoulder  are  three  palmettes  with  outline  lotus  buds 
added  to  the  two  scrolls  on  each  side  of  the  central  palmette.  This  palmette  has  four 
black  leaves  with  spaces  for  three  leaves  in  dull  color,  which, 
however,  cannot  now  be  seen.  Above  the  scene  the  maeandcr  is 
unbroken.  Slip  of  a  warm  yellow,  very  smooth  but  not  glazed. 
Drawn  in  moderately  fine  lines  of  thin  glaze.  Purple  is  used 
for  the  taeniae  on  the  hair,  and  Furtwangler  finds  traces  of  bright 
red  on  the  shield.  Preliminary  sketch  with  a  sharp  point. 

At  the  left  stands  in  profile  a  woman  with  head  slightly  bowed, 
holding  out  a  child  in  both  hands.  She  wears  a  sleeve  chiton, 
undergirded.  Her  hair  falls  in  a  small  mass  or  braid  at  the  back 
of  the  neck  and  is  held  in  place  by  a  purple  cord  wound  four  times 
around  the  head;  it  is  drawn  nearly  solid,  but  with  a  fine  brush, 
and  stiff  curls  fall  over  the  forehead.  The  child  is  held  facing  the 
mother.  It  is  wrapped  in  swaddling  clothes,  or  rather  in  a  large 
woollen  cloth  which  completely  covers  its  body  and  arms;  its  hair 
is  in  yellow  curls. 

Facing  the  woman  a  bearded  man  stands  in  partial  profile, 
holding  a  spear  against  his  left  arm  and  in  his  right  hand  a 
Corinthian  helmet.  He  wears  a  chiton,  undergirded,  and  has  a 
light  scarf  over  both  shoulders;  about  his  short  hair  is  a  red 
taenia.  In  the  preliminary  sketch  a  shield  rests  against  his  knees 
at  an  angle  of  forty-five  degrees;  this  was  perhaps  colored  red.  FIG.  41  (no.  i). 

On  black-figured  ware,1  and  rarely  on  late  red-figured  ware,2  the 
departure  of  Amphiaraos  is  depicted  in  a  somewhat  complicated  scene. 
Once  s  the  chariot  is  omitted,  and  the  necklace  is  exhibited  in  a  very 


1  Berlin,  Furtw.  1655;  Gerhard,  Aui.  Paten.  Taf.  163. 
«  Annali,  1863,  Tav.  G  ;  Roscher,  Ltxikont  I,  195. 


*  St.  Petersburg,  Stephani,  406. 


184  ATHENIAN  WHITE  LEKYTHOI 

realistic  manner.  On  two  of  the  vases  just  cited  the  child  is  represented, 
perched  on  its  mother's  shoulders.  On  vases  of  the  fine  period  scenes 
of  farewell  displace  scenes  of  departure,1  in  other  words  the  scene  is  so 
modified  as  to  belong  to  the  distinctive  life  of  the  household.  Some- 

O 

times  on  red-figured  vases  it  is  treated  with  considerable  feeling  and 
delicacy.  When,  however,  it  is  reduced  to  two  figures,  it  is  handled 
in  a  stiff,  conventional  manner;  ordinarily  a  woman  is  handing  a  hel- 
met to  a  youth  or  pouring  wine  for  him  to  drink.2  Such  is  the  treat- 
ment of  the  scene  on  most  of  our  lekythoi;  i.e.  it  is  not  distinctly  the 
parting  of  husband  and  wife,  but  simply  the  parting  of  a  young  man 
and  woman,3  and  further  it  is  treated  conventionally,  so  conventionally 
that  a  grave  stele  without  meaning  appears  between  the  figures.4  The 
present  vase  keeps  one  element  from  the  black-figured  ware,  namely, 
the  child,  and  so  uses  it  as  to  increase  the  meaning  of  the  scene.  In 
spite  of  the  stiff  attitudes  and  expressionless  faces,  the  mother  holding 
up  her  child  to  look  at  it  as  her  husband  takes  his  armor,  brings  out 
the  thought  that  she  will  have  only  the  child  when  its  father  shall  have 
gone  off  with  the  army.  In  the  suggestion  of  emotion  this  vase  is  to 
be  compared  with  one  in  Group  B,5  where  the  woman  exhibits  clearly 
her  affection  for  the  youth.  A  typical  farewell  scene  on  red-figured 
vases  depicts  a  young  warrior  departing  from  his  father  and  other 
members  of  the  family.  The  scene  of  a  young  warrior  leaving  a  maiden 
occurs  on  lekythoi  of  the  present  series  6  and  will  be  discussed  below; 
on  two  or  three  of  these  lekythoi  also  a  bearded  man  is  pictured  with 
a  woman  at  the  grave.7  The  present  scene  differs  from  both  of  those 
just  mentioned  in  that  it  gives  the  farewell  of  a  departing  husband  to 
his  family.  While  it  is  connected  traditionally  with  the  Amphiaraos 
series,  the  question  may  fairly  be  raised  whether  the  painter  did  not 
have  in  mind  rather  the  departure  of  Hector  as  described  in  the  sixth 
book  of  the  Iliad;  certainly  it  is  treated  in  much  the  same  spirit.  So 
far  as  Class  IV  of  these  lekythoi  is  concerned,  this  effort  to  put  some 
meaning  into  the  scene  is  discoverable  only  on  some  of  the  earlier 
specimens. 

1  Munich,  Jahn,   382  ;  Tischbein,  I,   pi.    xiv  j  Laborde,  Coll.  Lamberg,  pi.  xxi.     Cp.  also  Tischbein, 
V,  pi.  xxxiii. 

2  Cf.  Mus.  Gregor.  II,  58  ;  Helbig,  Fuhrer,  II,  S.  304,  1223. 

8  Group  C  V,  49,  Athens,  Nat.  Mus.  1818;  on  Brit.  Mus.   D  51   of  the  same  series  the  presence  of 
the  house  pet  may  indicate  that  we  are  dealing  with  a  home  scene. 

4  Cp.  Group  C  VI,  I,  no.  6,  Athens,  Nat.  Mus.  1761  ;   C  VI,  i,  no.  20,  Paris,  Cab.  Med.  4893,  etc. 
6  Group  B  IV,  2,  no.  13,  Oxford,  Ashm.  267. 

6  Group  C  V,  28,  Athens,  Nat.  Mus.  1789  ;  49,  Athens,  Nat.  Mus.  1818. 

7  Group  C  VI,  i,  no.  8,  Boston,  450;  no.  6,  Athens,  Nat.  Mus.  1761. 


GROUP  C:  CLASS  V,  2-3  185 

Practically  all  the  lekythoi  of  the  present  group  are  of  a  shape  that 
is  typical  from  now  on,  and  average  about  30  cm.  in  height.  This  vase 
and  the  following  differ  from  those  of  the  preceding  class  in  the  absence 
of  white  enamel  for  the  flesh  of  women,  in  the  entire  disappearance  of 
masses  of  black  from  the  scene,  and  in  the  smoother,  lighter  yellow 
slip.  On  some  of  the  specimens  also  color  is  more  freely  used.  The 
slender  figure  and  small  head  of  the  man  is  perhaps  an  innovation, 
which  reaches  its  climax  in  series  e.  On  the  other  hand,  the  stiff 
attitudes  (e.g.  the  feet  set  squarely  on  the  ground '),  the  treatment  of 
the  woollen  chiton,2  the  shoulder  pattern  with  two  lotus  buds,3  indicate 
that  there  is  no  break  between  Groups  B  and  C.  The  hair  of  the 
woman  looped  up  behind  the  head  and  held  by  a  broad  purple  taenia 
around  it,  with  a  few  stiff  locks  on  the  forehead,  is  exactly  in  the  style 
common  in  Group  B.4  A  shield  standing  on  the  ground  beside  the 
warrior  is  also  found  on  a  vase  of  Group  B,5  though  it  is  treated  some- 
what differently. 

2.  Athens,  Nat.   Mus.    1763,   Cv.    1643.     H.   0.27   m.     Festschrift 
fur  0.  Benndorfy  S.  91,  6. 

On  the  shoulder  egg-pattern,  palmettes  (in  front  only  four  leaves  in  black  glaze) 
and  two  lotus  buds.  Maeander  unbroken.  Preliminary  sketch  with  dull  point.  Drawn 
in  rather  coarse  lines  of  yellow  glaze;  hair  with  the  same  brush  but  filled  in  nearly  solid. 
Chair  black. 

At  the  left  by  an  easy  chair  stands  a  woman  holding  out  a  long  taenia  in  both  hands. 
She  wears  a  chiton  with  long  overfold  ungirded. 

At  the  right,  looking  at  her,  stands  a  girl  en  face  and  holds  out  toward  her  with  both 
hands  a  basket  containing  alabastra.  Her  hair  is  all  in  a  cloth.  She  wears  a  simple 
sleeveless  chiton  ungirded;  the  folds  are  indicated  only  in  the  preliminary  sketch. 

3.  Berlin,  Inven.  3171.     Athens.     H.  0.307  m.;  Cir.  0.309  m. 

On  the  shoulder  palmettes  (central  leaf  in  outline)  and  two  lotus  buds.  Compli- 
cated marauder,  unbroken.  Slip  hard  and  smooth,  not  shiny.  Drawn  in  fine  lines  of 
nearly  black  glaze.  Himation  dull  red;  folds  of  the  chiton  in  similar  red  but  thinner. 
Preliminary  sketch  with  dull  point. 

At  the  left  a  woman  nearly  in  profile  draws  her  himation  about  her  head  with  her 
right  hand  as  she  steps  forward.  The  dull  red  himation  forms  a  dark  background  for 
the  profile  of  her  face.  A  scant  chiton  with  perpendicular  red  lines  (not  folds) 
shows  below;  the  himation,  covering  back  of  head  and  both  arms,  falls  to  her 
ankles.  Stiff  curls  are  indicated  over  the  forehead  by  dots  in  relief  on  a  light  yellow  back- 
ground. 

1  Cp.  p.  150,  n.  a. 

*  Group  B  IV,  i,  no.  25,  Atheiu,  Nat.  Mm.  1816;  IV,  a,  no.  8,  Athens,  Nat.  Mm.  1845. 

*  Group  B  IV,  series  2. 

*  Group  B  IV,  2,  no.  8,  Athens,  Nat.  Mui.  1845  ;  IV,  I,  no.  25,  Athens,  Nat.  Mus.  i8a6. 

*  B  IV,  i,  no.  29,  Oxford,  Ashm.  168  ;  cp.  Group  A  II,  16,  Athens,  Nat.  Mus.  1964. 


i86  ATHENIAN  WHITE   LEKYTHOI 

At  the  right  a  girl  advances  to  meet  her  carrying  on  her  head  a  basket  with  lekythos, 
etc.  Her  left  hand  rests  lightly  on  her  hip.  She  wears  a  sleeveless  chiton  with  overfold; 
the  fold-lines  are  stiffly  drawn  in  red.  Her  hair  is  in  a  roll  at  the  back  of  her  neck. 

The  scene  on  these  two  vases  is  much  the  same,  the  preparation  to  go 
to  the  grave,  though  the  moment  chosen  by  the  painter  of  the  second  is 
later;  the  same  subject  occurs  on  a  few  specimens  of  the  earlier  classes.1 
No.  2  shows  the  same  spirit  as  the  earlier  vases,  especially  those  with 
the  name  Diphilos,  namely  a  tendency  to  treat  the  scene  as  belonging 
to  the  interior  of  the  house;  it  is  a  domestic  scene  as  truly  as  the  pic- 
tures of  women  putting  on  jewelry  or  playing  with  a  baby.  As  such 
it  has  already  become  quite  conventionalized.  No.  3  is  a  strange 
combination  of  literalness  and  conventionalism.  The  preparations 
have  been  completed,  the  attendant  has  the  basket  on  her  head  and 
balances  it  gracefully  enough  with  left  hand  on  her  hip;  the  mistress 
is  draped  and  her  head  covered  for  the  street.  In  fact  they  are  pictured 
as  already  in  motion,  but  yielding  to  the  demands  of  convention  the 
painter  has  drawn  them  facing  each  other,  instead  of  going  in  the  same 
direction;  if  the  maid  were  following  her  mistress  it  would  be  exactly 
literal,  but  at  the  cost  of  symmetry.  This  scene  differs  from  the  pre- 
ceding only  in  the  meaning  assigned  to  it.  So  definite  and  fixed  is  the 
schema  which  is  outlined  in  the  preliminary  sketch,  that  this  schema 
is  practically  the  same  whether  the  vase  is  to  show  a  preparation  inside 
the  home  for  worship  at  the  grave,  or  an  excursion  to  the  tomb. 

The  figures  on  no.  3  show  an  unusual  combination  of  stiffness  and 
delicacy.  The  folds  of  the  girl's  chiton  and  the  stiffness  of  her  right 
knee  are  in  strange  contrast  with  the  graceful  conception  of  her  pose. 
So  the  skirt  of  the  woman's  chiton  is  like  a  stiff  cylinder,2  and  her  left 
shoulder  is  quite  out  of  harmony  with  the  figure;  yet  there  is  a  strik- 
ing charm  about  her  attitude  and  the  face  is  very  delicately  drawn. 
Occasionally  on  lekythoi  of  a  later  period  is  found  the  same  device  of 
a  dark  surface  against  which  the  profile  stands  out  clearly.  In  this 
case  it  may  be  accidental;  in  other  cases  there  is  no  question  that  a 
painter  accustomed  to  red-figured  work  is  using  the  device  to  produce 
the  same  emphasis  on  the  profile  for  which  that  technique  provides  the 
opportunity.  On  other  vases  of  this  group  one  often  sees  the  effort  to 
treat  hair  realistically  by  the  use  of  dark  lines  on  a  yellow  background. 

1  One  figure,  A  III,  22,  Brit.  Mus.  D  76  ;  B  IV,  i,  no.  20,  Athens,  Nat.  Mus.  1953  ;    two  figures, 
B  IV,  2,  no.  14,   Athens,   Nat.  Mus.  1929;  B    IV,  3,  numbers  10  and  12,  Athens,  Nat.    Mus.    1963, 
1923,  "  Diphilos." 

2  Cp.  B  IV,  I,  no.  27,  Paris,  Hotel  Lambert  84;  IV,  2,  no.  14,  Athens,  Nat.  Mus.  1929. 


GROUP  C:  CLASS  V,  4  187 

The  use  of  relief  dots  to  indicate  curls,  as  on  no.  3,  is  rare  on  white 
lekythoi.1 

4.  Berlin,  Inven.  3262.  Greece.  H.  0.287  m.  Jahr.  Arch.  Inst. 
1893.  Arch.  Am.,  S.  93,  no.  55.  (Fig.  42.) 

Shape  slightly  squarer  than  usual,  i.e.  side  perpendicular  and  shoulder  more  hori- 
zontal. Glaze  rich  yellow,  smooth  but  no  polish  or  varnish.  On  the  shoulder  palmettes 
(central  leaf  in  outline)  and  two  lotus  buds.  Maean- 
der  unbroken.  Drawn  in  not  very  fine  lines  of  thin 
glaze;  hair  put  on  with  the  same  brush.  No  prelimi- 
nary sketch  is  visible.  Brown  is  used  for  the  box  on 
the  stele  and  for  the  upper  fastenings  of  the  lyre  strings. 

In  the  centre  a  square  altar-like  stele  on  two  steps. 
Three  black  lekythoi  in  different  positions,  a  pitcher, 
and  a  kantharos  stand  at  regular  intervals  on  the  upper 
step.  On  top  of  the  stele  is  a  large  lyre,  erect  as  if 
fastened  to  a  wall  behind  it,  and  a  small  casket. 

At  the  left  a  youth  in  profile  stands  squarely  on 
both  feet  holding  out  a  wreath  in  his  right  hand  toward 
the  stele.  He  wears  a  large  himation  draped  so  as  to 
leave  the  right  arm  and  shoulder  free.  His  hair  falls 
in  regular  curls  to  the  shoulder. 

Opposite  him  stands  a  woman  en  face,  extending 
her  right  arm  up  toward  the  stele.  She  wears  an 
open  Doric  chiton  with  overfold;  the  lines  of  the 
garment  are  graceful  but  quite  severe.  Her  hair  is 
drawn  loosely  back  so  that  it  covers  the  ears,  and  is 
gathered  in  a  knot  at  the  back  of  the  head.  FIG.  42  (no.  4). 

On  later  lekythoi  the  stele  assumes  a  traditional  form,  and  varia- 
tions are  made,  if  at  all,  in  the  figures  beside  it.  At  this  time  a  tra- 
dition exists  to  guide  the  artist  in  his  figures,  but  he  is  experimenting 
with  the  stele.  The  square  shape  hardly  occurs  again; 2  the  lyre  and 
the  casket  are  found  in  the  hands  of  people  at  the  tomb,8  not  again  on 
the  tomb  itself;  and  the  row  of  vases  on  the  steps  has  only  a  few  paral- 
lels.4 No  doubt  the  painter  was  accustomed  to  see  lekythoi  set  up  in 
just  this  way  on  the  steps  of  actual  stelai,  no  doubt  caskets  were  left 
at  the  tomb  and  lyres  left  resting  against  it  in  connection  with  the 
worship  of  the  dead. 

1  Cp.  Group  C  V,  22,  Athens,  Nat.  Mus.  1935,  and  Group  A  II,  16,  Athens,  Nat.  Mm.  1964,  and 
discussion  of  the  Utter  vase. 

a  Cf.  altar  base  and  narrow  stele,  Group  B  IV,  3,  no.  21,  Athens,  Nat.  Mus.  1815. 

*  Louvre  CA  612  Class  XII ;   Class  X,  Louvre  MNB,  1729. 

4  No.  9,  Brit.  Mus.  D  65  ;  no.  22,  Athens,  Nat.  Mus.  1935$  C  VI,  1,  no  i»,  Brit.  Mus.  D  56; 
Class  XII,  Brit.  Mus.  D  82  ;  cp.  A  III,  no.  59,  p.  96. 


i88  ATHENIAN  WHITE   LEKYTHOI 

The  boy  and  the  woman  show  nothing  of  this  contact  with  reality. 
The  pair,  one  in  full  profile,  the  other  directly  en  face,  is  familiar  on 
lekythoi  of  the  preceding  group,  and  is  the  regular  schema  again  in 
series  e  below.  The  woman's  garment  is  treated  with  the  same  realism 
and  stiffness  on  a  much  finer  vase  with  lekythoi  on  the  steps;  l  the 
same  profile  and  this  peculiarly  shaped  head  are  also  found  on  vases 
of  that  series  (series  c).  The  youth  (or  girl)  with  long  curls  and 
draped  in  a  himation  becomes  a  fairly  common  figure  on  lekythoi. 
The  square  chin  and  head,  with  pointed  nose,  are  found  with  the 
stiffer  lines  of  the  lekythos  itself  on  the  first  group  of  lekythoi  with 
outlines  in  dull  color. 

5.    Boston,  Mus.  P.  9069.     Athens.     H.  0.315  m.     Plate  VI. 

On  the  shoulder  three  palmettes  (four  black  leaves  and  three  in  outline),  and  two 
lotus  buds  with  central  leaves  outlined.  Maeander  complicated,  unbroken.  The 
preliminary  sketch  with  a  dull  point  can  be  traced.  Drawn  in  fine  lines  of  glaze;  dull 
black  is  used  for  one  garment,  and  dull  red  for  taeniae. 

At  the  left  a  bearded  man  kneels  on  the  steps  of  the  stele  and  looks  up.  His  left 
hand,  under  the  garment,  rests  on  his  hip;  his  right  grasps  his  cane.  He  wears  a  long 
himation  which  clings  closely  to  his  body.  The  hair  is  drawn  in  black  curls  with  a  fine 
brush. 

A  square  stele  rests  on  two  steps;  at  the  top  is  a  leaf-and-dart  moulding  and  above 
this  a  pediment  with  scrolls  at  the  sides  and  a  palmette  at  the  top.  Within  the  pediment 
are  two  youths  boxing,  and  two  youths  seated  on  the  ground  watching  them,  all  four  in 
silhouette.  On  the  outer  scroll  of  the  pediment  a  nude  youth  stands  en  face  on  each 
side;  the  one  at  the  left  carries  a  strigil  and  in  his  left  hand  a  staff,  the  one  at  the  right 
rests  his  left  hand  on  his  hip  and  holds  a  staff  in  his  right. 

At  the  right  stands  in  profile  a  youth  entirely  wrapped  in  a  dull  black  himation. 

In  the  field  at  the  left  hangs  a  discus,  at  the  right  a  lyre. 

Both  in  spirit  and  in  the  style  of  the  drawing  this  vase  resembles 
the  lekythoi  of  Class  VI,  series  i,  more  than  any  in  the  present  class. 
The  draped  figure  at  the  right  is  matched  on  a  lekythos  in  Athens; 3 
even  the  rather  square  head  and  the  loose  fold  of  the  himation  in  front 
of  the  neck  are  repeated.  On  another  Athenian  lekythos  4  the  face 
of  the  bearded  man  resembles  the  face  of  this  kneeling  figure  in  the 
profile,  the  eye,  and  the  treatment  of  the  curly  beard.  Finally,  a 
lekythos  of  that  series  in  Boston  5  shows  a  stele  of  almost  the  same 
peculiar  shape  as  here  but  without  the  plastic  decoration;  on  this 

1  No.  22,  Athens,  Nat.  Mus.  1935  ;  the  general  lines  of  the  figure  are  repeated   on  a  vase   in   Berlin, 
Inven.  3291,  Group  C  VI,  i,  no.  5. 

2  Cp.  no.  25,  Athens,  Nat.  Mus.  1797;  Group  C  VI,  i,  no.  16,  Athens,  Nat.  Mus.  2035. 
8  Class  VI,  i,  no.  16,  Athens,  Nat.  Mus.  2035. 

4  Class  VI,  i,  no.  15,  Athens,  Nat.  Mus.  1993.  6  VI,  i,  no.  10,  Boston,  8440. 


GROUP  C:  CLASS  V,  5-6  189 

same  vase  the  nude  youth  at  the  left  is  in  the  same  attitude  as  the  small 
figure  at  the  right  of  the  stele  on  the  vase  now  under  discussion.  The 
other  examples  of  figures  in  the  pediment  of  a  stele  are  found  on  the 
rude  vases  of  Group  D.  On  a  fourth  vase  of  Class  VI  there  are  two 
figures,  a  seated  woman  and  a  child,  on  top  of  a  square  stele.1  It 
has  been  suggested  that  the  last-mentioned  figures  represent  a  relief, 
which  the  artist  did  not  know  how  to  draw  in  any  other  way.  No  such 
explanation  is  possible  for  our  two  athletes  here,  for  there  are  other 
figures  drawn  in  relief.  For  statues  of  athletes  to  be  erected  on  graves 
was  not  uncommon,  but  their  presence  as  acroteria  of  a  pediment  can 
only  be  due  to  the  fantasy  of  the  painter.  His  boldness  had  already 
been  evinced  by  the  introduction  into  the  pediment  of  a  palaestra  scene. 
The  kneeling  figure  at  the  left  would  almost  seem  to  be  a  spectator 
of  the  wrestling  contest  in  the  pediment,  so  eagerly  does  he  watch. 
The  contrast  between  him  and  the  stiff  figure  at  the  right  is  not  in- 
frequently found  on  later  lekythoi.  It  may  perhaps  be  maintained 
that  this  wholly  draped  youth,  apart  from  the  rest  of  the  scene,  is  in- 
tended to  be  the  dead  person  for  whom  the  tomb  was  erected. 

6.  Madrid,  Mus.  Arqu.     H.  about  0.40  m. 

On  the  shoulder  three  palmettes  (the  central  leaf  in  outline)  and  two  lotus  buds. 
The  rather  short  maeander  above  the  scene  is  unbroken. 

At  the  extreme  right  is  a  pillar  on  one  step,  around  the  top  of  which  is  a  wreath 
(painted  ?),  while  below  a  taenia  is  tied  about  it.  The  top  of  the  stele  breaks  the  maeander 
pattern. 

In  front  of  the  stele,  his  back  toward  it,  is  a  youth  with  right  hand  extended.  He 
wears  a  long  himation,  under  which  his  left  hand  is  placed  on  his  hip. 

At  the  left  a  woman  in  profile  holds  out  an  alabastron  in  her  right  hand  and  a  taenia 
in  her  left.  Between  the  two  a  taenia  is  draped  in  the  field.  She  wears  a  sleeveless 
chiton,  and  her  hair  is  in  a  roll  at  the  back  of  the  head. 

The  peculiar  drawing  of  the  faces  and  of  the  woman's  garment  may 
be  due  to  retouching;  it  is  possible  also  that  the  stele  (and  the  maeander 
pattern)  have  been  added  by  a  modern  hand.  Without  careful  per- 
sonal examination,  it  would  be  rash  to  draw  any  inferences  from  the 
peculiarities  of  this  vase,  but  the  garment  of  the  youth  and  the  hands 
of  both  figures  are  in  harmony  with  the  rest  of  the  series.  The  shoulder 
ornament  also  follows  the  type  of  this  series. 

7.  Munich,    Jahn,    209    (1696).     Athens.     H.     0.397    m.;     Cir. 
0.406  m.     Stackelberg,  Graber  der  Hellenen,Taf.  xl;  Thiersch,  Uebtr 
die  hellen.  bemalten  Vasen,  Taf.  iii ;    Benndorf,  Griech.  Sic.  Vas.>  Taf. 
xxvii,  i. 

1  No.  14,  Athens,  Nat.  Mu».  1815. 


190  ATHENIAN  WHITE  LEKYTHOI 

On  the  shoulder  each  of  the  three  palmettes  has  four  black  leaves  (with  spaces  for 
red  leaves  between);  two  lotus  buds.  Fine  yellowish  slip,  much  cracked.  Maeander 
complicated,  unbroken.  Drawn  in  fine  lines  nearly  black;  the  hair  also  is  done  with 
a  fine  brush.  A  reddish  brown  is  used,  e.g.  for  Charon's  pole  and  garment;  and  a  faded 
color,  probably  red,  for  the  other  garments.  The  preliminary  sketch  is  found  in  trans- 
parent lines  not  very  fine,  as  though  it  had  been  drawn  in  colorless  glaze;  the  right  arm 
of  Hermes  does  not  follow  this  sketch  exactly.  Charon's  feet  are  suggested  apparently 
by  the  use  of  a  point. 

At  the  left  Charon  is  drawing  a  boat  to  the  shore  with  a  long  pole,  bending  his  knees 
to  the  task.  The  boat  has  a  large  eye  in  front  and  "thole  pins"  on  the  upper  edge. 
Charon  wears  a  brown  exomis  (fold-lines  in  glaze)  and  a  round  felt  cap.  His  rough? 
unkempt  face  is  in  striking  contrast  with  the  faces  of  the  other  figures. 

By  the  prow  of  the  boat  Hermes  stands  en  face,  grasping  the  arm  of  a  woman  with  his 
left  hand  and  pointing  her  toward  the  boat  with  the  kerykeion  in  his  right.  He  wears 
high  laced  boots,  a  chlamys,  and  cap  with  large  wings.  His  bearded  face  is  drawn  with 
care  and  dignity. 

At  the  right  stands  a  woman  in  partial  profile,  returning  Hermes'  glance,  and  hold- 
ing out  the  right  arm  which  he  grasps.  She  wears  a  sleeve  chiton  and  a  himation  which 
entirely  covers  her  left  arm.  Her  hair  partly  covers  the  ears  and  is  gathered  in  a  small 
knot  at  the  back  of  her  head. 

Jahn  designates  much  of  the  lower  part  of  the  scene  and  some  other 
details  as  modern  restorations.  The  skirts  of  Charon's  exomis,  most  of 
the  chlamys  of  Hermes,  the  feet  of  Hermes  (the  restoration  approxi- 
mately correct),  and  some  lines  in  the  lower  part  of  the  woman's 
garment  are  no  doubt  modern.  Jahn  also  detected  KALO£  inscrip- 
tions which  have  now  disappeared.  Some  lines  of  the  preliminary 
sketch  he  seems  not  to  have  interpreted  correctly. 

On  this,  perhaps  the  earliest  extant  lekythos  with  a  Charon  scene, 
the  realistic  character  of  the  drawing  is  noticeable.  Where  the  artist 
cannot  find  conventions  he  draws  from  life,  only  emphasizing  the 
traits  which  are  in  harmony  with  popular  belief.  The  "  dolphin  "- 
headed  boat,  the  ferryman  throwing  his  weight  against  the  pole,  dressed 
in  the  ordinary  garb  of  a  toiler  of  the  sea,  —  this  part  of  the  scene 
comes  from  the  experience  of  the  Athenian  sailor,  though  perhaps 
through  the  painting  of  some  master.  The  repulsive  features  of  the 
ferryman,1  his  high  cheek-bones,  pointed  nose,  and  thin  scattering 
beard,  have  been  made  yet  more  ugly  to  express  the  dread  he  inspired 
in  those  who  looked  for  his  coming.  Hermes  is  bearded  as  on  black- 
figured  vases,  but  his  character  has  been  ennobled  in  contrast  to  the 
ferryman.  It  is  almost  with  a  look  of  kindly  pity  that  he  escorts  the 

1  In  the  reproduction  in  Jour.  Hell.  Stud.  (1899,  p.  182.,  fig.  6)  the  face  is  apparently  made  more 
ugly  by  unsuccessful  retouching. 


GROUP  C:  CLASS  V,  8  191 

woman  to  Charon's  boat.  While  his  garments  seem  to  be  obscured 
by  retouching,  one  may  detect  the  lower  corner  of  the  short  girded 
chiton  which  he  usually  wears  under  his  chlamys.  The  woman,  in 
contrast  with  the  other  figures,  is  no  new  personage.  In  treatment  of 
head  and  hair  she  closely  resembles  the  type  represented,  e.g.  on  no.  4, 
though,  true  to  the  scene,  she  comes  with  bent  head  and  hesitating  step. 
Perhaps  it  is  the  same  effort  for  real  exactness  which  leads  the  painter 
to  draw  the  pupil  of  the  eye  with  a  curved  line,  to  add  carefully  the 
inner  contour  of  the  nose,  and  to  treat  the  hair  with  such  literalness. 
8.  Boston,  Mus.  6545.  H.  about  0.40  m.  Plate  VII. 

The  body  bulges  slightly  and  the  mouth  is  relatively  small.  Slip  a  warm  brownish 
yellow,  of  fine  texture.  Most  of  the  shoulder  pattern  has  disappeared,  but  the  lotus  buds 
below  the  palmettes  remain.  Maeander  simple,  unbroken.  Preliminary  sketch  visible. 
Drawn  in  black  glaze  with  added  purple  for  taenia  and  for  fold-lines  on  black.  Bright 
red  and  purplish  red  (once  the  same  ?)  for  other  garments.  Much  defaced. 

At  the  left  Charon  with  pole  in  both  hands  is  pushing  a  boat  with  high  prow  (or 
stern  ?)  toward  the  shore.  He  wears  short  girded  chiton,  black  with  purple  fold-lines. 
His  rounded  forehead  and  stubby  nose  are  distinct,  but  the  cap  has  disappeared  and  no 
traces  of  a  beard  remain.  Before  his  head  flies  a  "soul"  wearing  a  long  chiton. 

Facing  him  Hermes  stands  en  face,  with  kerykeion  erect  in  his  right  hand  and  clasp- 
ing with  his  left  the  arm  of  a  youthful  figure.  The  face  has  disappeared.  He  wears 
high  boots,  a  chlamys  of  bright  red,  and  a  petasos  with  low  crown  hanging  on  his  shoulder. 
The  young  girl  behind  him  is  completely  draped  in  a  himation  of  purplish  red,  and  has 
a  purple  fillet  about  her  head;  her  hair  is  in  a  coil  at  the  base  of  her  head,  and  curls 
appear  in  front,  Behind  her  flies  a  "soul"  like  the  first,  carrying  a  thymiaterion  (?). 

At  the  right  stands  a  woman  in  profile,  wearing  a  long  chiton  and  a  himation  (black 
with  purple  fold-lines)  which  covers  the  back  of  her  head. 

The  workmanship  of  this  vase  is  inferior  to  the  last,  and  the  damaged 
condition  of  the  vase  makes  it  difficult  to  judge  of  the  scene.  Only  one 
head  remains  intact,  the  hastily  drawn  head  of  the  girl  for  whom 
Charon  has  come.  Apparently  she  is  looking  up  at  Hermes,  the  con- 
ductor of  souls.  The  scene  differs  from  that  on  the  preceding  vase 
in  that  Hermes  turns  from  the  person  he  brings,  to  address  the  odd 
little  boatman.  Hermes  is  perhaps  bearded;  he  wears  hunting  "  boots," 
held  in  place  by  thongs  around  the  leg,  and  with  no  indication  of  wings.1 
Judged  by  this  vase  the  feet  of  Hermes  on  the  preceding  vase  have 
been  restored  with  approximate  correctness.  The  figure  at  the  extreme 
right  may  safely  be  interpreted  as  a  mourner.  Perhaps  it  is  the  girl's 
mother,  with  black  garment  over  her  head,  who  adds  this  new  element 
to  make  the  scene  complete.  If  this  interpretation  is  correct,  the  three 

1  Cp.  the  Hermes  on  a  Jena  lekytho*  published  by  Schadow,  1897. 


i92  ATHENIAN  WHITE   LEKYTHOI 

figures  at  the  left  form  one  group  signifying  the  death  of  the  girl,  and 
the  mother  is  facing  the  fact  of  her  daughter's  death.  Such  a  com- 
plex scene  is  unusual  on  lekythoi  of  the  present  class. 

For  the  first  time  on  lekythoi  we  find  here  the  small  winged  figures 
which  must  be  regarded  as  souls  of  the  dead.1  On  black-figured  vases 
is  sometimes  found  one  "soul,"  a  miniature  of  the  dead  man,  dressed 
as  was  the  man  himself.  On  later  lekythoi  little  naked  souls  with  large 
wings  are  sometimes  seen,  usually  in  groups  of  two  or  three  gathered 
about  the  tomb  or  the  corpse.  The  presence  of  more  than  one,  as  on 
the  present  vase,  seems  to  preclude  the  idea  that  here  also  we  have 
a  man's  soul  beside  his  dead  body,  although  on  the  vase  before  us  it 
might  be  said  that  two  dead  persons  were  represented.  It  seems 
more  reasonable  to  say  that  these  are  souls  of  the  (unburied  ?)  dead 
who  haunt  cemeteries  and  the  entrance  of  the  lower  world.  No  doubt 
they  are  drawn  on  the  lekythoi  to  suggest  the  shadowy  existence  which 
awaits  in  Hades  those  who  have  just  died.  The  souls  on  lekythoi 
with  drawing  in  glaze  differ  from  those  on  lekythoi  with  drawing  in 
dull  color  in  that  they  are  larger  and  clothed  in  long  garments.  They 
constitute  a  transitional  stage  between  the  soul  which  is  a  genuine  image 
of  the  dead  person  in  question,  and  the  naked  figures  with  long  slender 
wings  that  are  found  later.  Both  these  souls  are  dressed  like  women. 
It  would  throw  light  on  a  vexed  question  if  one  could  make  out 
what  the  one  at  the  right  is  carrying.  At  first  sight  it  resembles 
the  thymiaterion  sometimes  carried  by  Nike,  nor  would  such  a  transfer 
be  unnatural  when  one  compares  this  figure  with  such  flying  Nikes. 
If  souls  fly,  they  will  come  to  be  represented  with  wings;  and  if  they 
have  wings,  they  will  come  under  the  influence  of  the  types  of  winged 
figures. 

9.  London,  Brit.  Mus.  D  65.  H.  15^  in.  White  Ath.  Vases, 
pi.  xxvii. 

Neck  white  with  pattern  of  ivy  leaves  and  fruit.  On  the  white  shoulder  a  row  of 
bars  and  five  palmettes.  Above  the  scene  a  wavy  line;  below  the  scene  a  maeander 
broken  by  horizontal  crosses.  Drawn  in  thin  yellow  glaze  varying  to  black.  Vermilion 
for  one  mantle. 

On  three  steps  rises  a  fairly  slender  shaft  with  acroterion.  On  the  steps  stand  a 
lekythos  and  smegmatotheke;  at  the  right  is  a  basket  on  a  diphros.  Two  taeniae  are 
bound  about  the  stele.  An  alabastron  hangs  in  the  field  over  the  basket. 

At  the  left  a  woman  stands  in  profile;  her  left  hand  is  extended  and  in  her  right  she 
holds  up  an  alabastron.  She  wears  a  sleeve  chiton  (perpendicular  stripes)  and  vermilion 

1  On  these  souls  see  Benndorf,  Griecb.  Sic.  fas.,  on  Taf.  xiv,  xxxiii  ;  R.  Hirsch,  De  animarum  apud 
antiques  imaginibus ;  O.  Kern,  Aus  der  Anemia,  89  f. 


GROUP   C:    CLASS   V,    10  193 

himation.     Her  hair  is  held  by  a  cloth  in  a  knot  at  the  back  of  her  head.     She  wears 
ear-rings. 

On  the  other  side  of  the  stele  stands  a  woman  en  face  (right  foot  and  head  turned 
toward  the  stele)  taking  a  taenia  from  the  basket  with  her  right  hand  and  holding  up  in 
her  left  hand  a  high  pyxis  with  stem  and  lid.  She  wears  a  sleeveless  chiton  with  two 
girdles  and  a  rather  short  overfold  from  shoulder.  Her  hair  is  in  a  large  knot  held  up 
by  a  band  around  her  head. 

In  the  attitudes,  the  garments,  the  treatment  of  the  hair  and  eyes, 
and  the  profile  of  the  figure  at  the  left,  this  vase  resembles  the  type 
common  in  Group  B.  The  absence  of  white  enamel  excludes  it  from 
that  group,  and  the  peculiar  ornamentation  marks  it  as  an  experiment. 
The  same  ornamentation  occurs  on  two  other  outline  lekythoi  in 
Athens  (B  IV,  3,  nos.  20  and  30,  Athens,  Nat.  Mus.  1982  and  1983) 
and  on  one  or  two  later  lekythoi  with  black  figures  on  a  whitish 
ground.  The  resemblance  between  this  specimen  and  the  first  of  those 
just  named  (Athens,  Nat.  Mus.  1982,  B  IV,  3,  no.  20)  has  been  dis- 
cussed above.  The  two  no  doubt  came  from  the  same  shop  at  the 
same  time,  if  they  are  not  from  the  same  hand.  Even  without  such 
a  parallel  in  the  subject  represented,  the  character  of  the  drawing  on 
this  vase  would  show  that  it  belonged  with  the  previous  group  except 
for  the  omission  of  the  white  enamel  and  the  change  in  the  consistency 
of  the  slip.  There  is  every  indication  that  Groups  B  and  C  overlap,  and 
it  appears  from  the  next  lekythoi  that  Group  D  is  contemporaneous 
with  Group  C. 

The  basket  on  a  diphros  appears  as  a  domestic  scene  on  B  IV,  2, 
no.  14  (Athens,  Nat.  Mus.  1929).  The  presence  of  a  diphros  at  the 
tomb  should  probably  be  explained  as  the  result  of  this  domestic  scene 
rather  than  as  copied  from  actual  practice,  whatever  the  practice  may 
have  been.  The  basket  on  a  diphros  had  become  part  of  the  apparatus 
of  the  lekythos  painter. 

10.    Munich  (uncatalogued).     Athens.     H.  0.35  m.     (Fig.  43.) 

Shape  slightly  contracting  from  the  shoulder.  Neck  and  shoulder  red;  on  the 
shoulder  five  rude  palmettes  with  groups  of  three  dots.  Slip  white  with  transparent 
shiny  glaze.  Above  the  scene  a  maeander  broken  by  checker-board  squares;  below  it 
a  simple  maeander.  Drawn  in  yellow  glaze  with  black  only  for  the  hair  and  lekythos. 
Possibly  red  was  used  on  garments.  Preliminary  sketch  with  a  sharp  point. 

In  the  centre  is  a  small  stele  on  three  high  steps.  On  it  is  an  imitation  inscription 
in  three  lines;  on  top  stands  a  large  kantharos  in  outline.  At  either  side  of  the  stele  hang 
objects  in  the  field,  at  the  left  a  black  lekythos,  at  the  right  a  purse. 

At  the  left  a  woman  in  profile  approaches,  holding  up  an  egg  in  her  right  hand.  She 
wears  a  sleeve  chiton  and  (red  ?)  himation;  a  taenia  holds  her  hair  in  a  knot  at  the  back 
of  her  head;  she  wears  ear-rings.  Profile  of  the  "severe"  type. 


194 


ATHENIAN  WHITE  LEKYTHOI 


At  the  right  stands  a  woman  in  profile  holding  out  a  large  taenia  in  both  hands. 
Her  dress  is  like  her  companion's;    profile  more  careless. 


The  shape  of  this  lekythos,  the  ornamentation  of  neck  and  shoulder, 
the  shiny  white  slip,  the  second  maeander,  and  the  yellow  glaze  used 
for  the  drawing  all  are  characteristics  of  Group  D.  It  is  only  the  size 
of  the  lekythos  and  the  composition  of  the  scene  which  leads  me  to 
discuss  it  here.  In  fact  it  forms  a  sort  of  transition  from  the  earlier 

numbers  of  the  present  series 
to  a  technique  which  came  to 
be  used  only  for  small  and 
hasty  lekythoi. 

The  lekythos  and  purse 
hanging  on  the  walls  evidently 
have  nothing  directly  to  do 
with  the  tomb.  In  the  do- 
mestic scenes  of  Groups  B 
and  C  they  no  doubt  repre- 
sent literal  fact;  from  domes- 
tic scenes  they  have  been 
transferred  to  scenes  at  the 
tomb  merely  for  decorative 
effect,  and  with  the  entire  dis- 
appearance of  domestic  scenes 
these  accessories  at  length  dis- 
appear also. 

The  two  women  are  some- 
what hastily  drawn,  but  by  an 
accustomed  hand.  The  lines 
of  the  garments  in  particular 
show  considerable  skill  and 
accuracy,  and  the  faces  and  hands  of  the  women,  though  not  spe- 
cially successful,  are  not  the  work  of  a  beginner.  The  shape  of  the 
head  and  the  treatment  of  the  hair  (except  for  the  Stephanos)  are  in 
line  with  the  type  of  the  present  series. 

The  interesting  part  of  the  scene  is  its  literalness.  The  painter  had 
in  mind  some  actual  stele  with  its  inscription  and  its  bronze  kantharos 
fastened  on  top;  before  such  a  stele  he  had  seen  women  standing,  as 
they  presented  an  egg  or  started  to  fasten  a  sash  about  the  stone.  An 
egg,  possibly  an  egg-shaped  fruit,  is  seen  with  other  offerings  on  the 


FIG.  43  (no.  10). 


GROUP  C:    CLASS  V,  11-12  195 

basket  which  mourners  bring  to  the  tomb;  '  I  do  not  know  other  cases 
in  which  the  egg  alone  is  held  out  toward  the  stele,  but  the  literalness 
of  this  scene  in  other  respects  may  justify  the  belief  that  this  was 
actually  the  practice.  As  for  the  kantharos,  the  holes  filled  with  lead 
in  more  than  one  gravestone  at  Athens  indicate  that  the  practice  of 
placing  metallic  objects  on  such  stones  was  by  no  means  unusual; 
that  these  objects  were  bronze  vases  in  many  instances  is  more  than 
probable.  The  imitation  of  the  inscription  is  almost  unique  on  white 
lekythoi.2  Rarely  on  red-figured  vases  a  real  inscription  is  given  on 
the  pictured  tombstone;  most  if  not  all  these  specimens  come  from 
southern  Italy.3  The  presence  of  this  inscription  is  one  more  proof 
of  the  literalness  of  the  painter  of  the  present  lekythos. 

11.  Athens,  Private  Collection.     Athens.     H.  0.32  m. 

On  the  shoulder  palmettes  with  three  leaves  in  front  (and  spaces  for  red  leaves) 
and  five  leaves  at  the  sides.  Slip  white  and  shiny.  Maeander  broken  by  horizontal 
crosses  and  checker-board  squares.  Preliminary  sketch  with  blunt  instrument  in  the 
soft  clay.  Drawn  in  yellow  glaze. 

At  the  right  a  large  round  tumulus  about  the  top  of  which  a  taenia  is  fastened; 
behind  it  is  a  narrow  stele  with  round  top. 

From  the  left  a  woman  approaches  to  deck  the  tumulus  with  another  taenia.  She 
wears  sleeveless  chiton  and  bracelets. 

This  lekythos,  like  the  preceding,  marks  the  connection  between 
Groups  C  and  D.  The  reversion  to  the  earlier  shape,  the  shiny  white 
slip,  and  the  drawing  in  yellow  glaze  are  found  here;  moreover  in  this 
instance  there  is  but  one  figure  and  the  scene  is  a  duplicate  of  some 
found  in  the  later  group.  The  vase  is  interesting  only  as  it  shows 
that  both  Group  C  and  Group  D  begin  from  the  present  series. 

12.  Naples,  Heyd.  2433.     Locri.     H.  0.22  m.;  Cir.  0.25  m. 

On  the  shoulder  an  egg-pattern,  then  palmettes  with  two  lotus  buds  below;  the  two 
sides  are  not  symmetrical.  Above  the  scene  is  a  simple  maeander.  Slip  quite  brown. 
Drawn  in  very  fine  light  brown  lines,  the  hair  and  chair-legs  in  solid  black.  No  color 
used. 

Two  women  stand  facing  each  other;  the  one  at  the  right  holds  out  her  hand,  the 
one  at  the  left  a  phiale  and  pitcher,  above  a  low  stool.  Both  wear  chiton  and  himation. 
The  hair  is  held  at  the  back  of  the  head  by  a  purple  taenia. 

This  lekythos  is  described  here  because  it  has  lotus  buds  with  the 
palmettes  on  the  shoulder,  it  is  a  question,  however,  whether  the 

1  Benndorf,  Grieck.  Sit.  fai.  Taf.  xvi,  i  ;  xxii,  i .  On  remains  of  eggs  and  marble  copies  of  eggt 
found  in  tombs  see  Raoul-Rochette,  Mem.  de  r  Inn.  dt  France,  XIII,  1838,  p.  780  f. 

a  A  similar  imitation  inscription  occurs  on  no.  10  infra,  Athens,  Nat.  Mus.  1958.  On  •  lekythot 
of  Class  III  (no.  43,  p.  86  infra)  a  real  inscription  occurs. 

•  Cp.  Heydcmann  in  Commentations  in  konortm  Tk.  Mommuni  and  other  references,  p.  86  infra,  no.  3. 


196  ATHENIAN  WHITE   LEKYTHOI 

shoulder  pattern  does  not  come  direct  from  the  red-figured  lekythoi 
independently  of  the  other  lekythoi  in  the  present  series.  Neither  the 
profile  nor  the  hair  recall  the  Athenian  lekythoi  of  this  period,  nor 
does  such  a  stool  occur  on  other  lekythoi.1  Apparently  the  slip  also 
is  of  a  different  consistency.  The  difference  may  best  be  accounted 
for  by  supposing  that  the  vase  is  of  local  manufacture  in  imitation  of 
Athenian  ware. 

Looking  back  at  the  series  as  a  whole,  one  sees  that  it  forms  the 
transition  from  Group  B  to  both  Groups  C  and  D.  The  lotus  buds 
on  the  shoulder  of  the  typical  specimens  continue  the  red-figured  shoul- 
der pattern  found  in  Group  B  IV,  series  2.  Probably  the  change  to  the 
pattern  on  B  IV,  3  and  to  this  pattern  appeared  at  about  the  same 
time  but  under  different  circumstances.  The  use  of  a  preliminary 
sketch  in  this  series,  a  practice  of  the  maker  of  red-figured  ware,  goes 
with  the  fondness  for  the  commoner  shoulder  pattern  of  red-figured 
lekythoi  of  the  period.  But  the  other  pattern  (without  lotus  buds) 
soon  prevailed,  and  the  separation  of  red-figured  work  from  outline 
work  on  a  white  surface  went  on  increasing.  On  the  typical  speci- 
mens of  this  series  one  also  finds  an  unbroken  maeander.  This  was 
the  commoner  form  on  red-figured  lekythoi,  not  on  the  later  lekythoi 
of  the  present  class. 

The  yellow  slip  of  fine  creamy  consistency,  too  light  for  the  use  of 
white  enamel  paint  and  not  white  enough  for  the  free  Use  of  color  in 
the  drawing,  goes  with  the  lotus  buds  on  the  shoulder.  The  slip  has 
changed  and  the  enamel-white  has  disappeared;  the  drawing, however, 
is  still  in  the  same  rather  coarse  lines  of  yellowish  glaze  as  in  the  pre- 
ceding group.  And  while  the  use  of  masses  of  black  has  almost  dis- 
appeared, these  painters  do  not  yet  experiment  with  the  variety  of 
colors  that  soon  are  to  be  seen. 

As  might  be  expected  in  such  a  period  of  transition,  the  combina- 
tion of  stiffness  and  grace,  of  convention  and  literalness,  is  very  marked. 
New  elements  are  introduced  from  real  life  with  some  freedom,  for 
these  painters  are  given  to  experiment  in  their  subjects  as  well  as  in 
their  technique.  In  general  the  figures  are  not  new,  they  are  the  men 
and  women  who  are  seen  on  earlier  lekythoi;  Hermes  is  represented 
as  on  vases  in  a  different  technique,  the  babe  is  like  those  on  earlier 
black-figured  vases,  only  Charon  is  an  absolutely  new  figure.  Still, 

1  A  woman  seated  on  a  similar  stool  is  seen  on  a  red-figured  vase,  published  by  Tischbein,  IV,  16  ; 
Elite  C'er am.  I,  33. 


GROUP  C:    CLASS  V,  13  197 

the  treatment  of  the  face  is  changing,  a  new  treatment  of  the  hair 
and  a  different  shape  for  the  head  come  into  use.  The  great  change 
is  in  the  use  made  of  the  figures;  the  adaptation  of  a  Hector-Androm- 
ache scene  for  the  tomb,  the  creation  of  the  Charon  scene,  entirely 
new  to  vase  painting,  the  excursion  to  the  tomb,  and  the  literal  picture 
of  actual  worship  at  the  tomb,  —  as  compared  with  the  repetition  of 
what  is  familiar  on  other  sets  of  lekythoi,  this  list  of  new  scenes  is  very 
noteworthy. 

Closely  as  this  series  is  connected  with  Group  B,  it  furnishes  the 
links  which  connect  that  group  with  both  Class  V  and  Class  VI  of  the 
present  group  and  with  Group  D.  The  slender  figures  and  rather 
small  heads  and  a  similar  treatment  of  the  garments  are  found  in 
series  c  and  particularly  in  series  e  of  this  Class  V;  the  Charon  scene 
and  farewell  scenes  are  found  again  in  Class  VI;  while  so  many  of 
the  characteristics  of  Group  D  are  present,  especially  in  the  case  of 
nos.  10  and  II,  that  it  is  difficult  to  classify  these  vases  at  all. 


b.    Other  experiments  in  the  use  of  thin  glaze  on  white. 

In  addition  to  the  large  lekythoi  for  which  the  lotus  bud  on  the 
shoulder  is  the  characteristic  mark,  we  may  distinguish  a  series  of  small 
lekythoi  with  drawing  in  thin  glaze  (series  b),  and  a  series  of  large 
lekythoi  with  drawing  in  very  black  glaze  (series  c),  which  also  belong 
to  the  period  of  transition.  Experiments  in  the  shoulder  ornament 
and  the  maeander  accompany  variations  in  shape  and  new  scenes. 

13.  Berlin,  Furtw.  2252.  Athens,  Hagia  Triada.  H.  0.181  m. 
Arch  Zeit.  1880,  S.  134  f.  Taf.  xi. 

Neck  and  shoulder  white.  On  the  shoulder  Eros  as  a  boy  flies  to  the  right  hori- 
zontally. Eye  en  face,  long  hair,  and  high  wings.  On  each  side  are  palmettes  with  solid 
and  outline  leaves  and  one  or  two  lotus  buds.  The  body  is  heavy  and  the  foot  wide  as 
compared  with  the  slender  neck.  Above  and  below  the  scene  are  maeanders  of  a  peculiar 
pattern.  Slip  thin  and  hard,  yellowish.  Drawing  in  glaze  varying  from  yellow  to  black. 
The  glaze  is  applied  unevenly  to  hair  and  himation  so  as  to  produce  the  effect  of  shad- 
ing. Eyes  en  face. 

At  the  left  a  woman  sits  on  an  easy  chair  (cushion  and  footstool)  holding  up  a  wreath 
of  small  leaves  before  her.  A  quail  on  her  lap  looks  toward  her.  She  wears  an  Ionic 
chiton  with  fine  fold-lines  in  thin  glaze,  bracelets,  ear-rings,  and  a  black  himation  over 
her  knees.  The  hair  is  held  by  a  wide  cloth  bound  around  her  head. 

Facing  her  a  bearded  man,  seen  from  behind,  leans  on  a  knotty  staff  under  his  left 
shoulder;  his  right  hand  rests  on  his  hip.  The  himation  leaves  right  shoulder  exposed. 
Details  in  yellow  glaze.  In  the  centre  above  hangs  a  mirror,  and  at  the  left  an  alabastron 


198  ATHENIAN  WHITE   LEKYTHOI 

is  suspended  by  a  cord  from  each  handle.     Behind  the  woman  is  a  kalathos  with  bands 
of  solid  black. 

Before  the  man  is  an  inscription  Ol^VNPI  +  0^  KAK)£  (from  right  to  left),  be- 
fore the  woman  KAlO^  and  behind  her  HOPA  l£  K  A  KD  £  (from  right  to  left). 


A  flying  Nike  is  seen  on  the  shoulder  of  a  red-figured  lekythos  in 
Naples  (Heyd.  3184),  unlike  this  Eros  in  that  her  wings  are  spread  in 
opposite  directions.  On  each  side  are  scrolls,  and  the  main  scene 
consists  of  a  woman  looking  back  at  a  kalathos.  I  do  not  find  other 
examples  of  this  shoulder  ornament  or  of  the  peculiar  maeander  pat- 
tern. Such  experiments  in  ornamentation  are  in  harmony  with  the 
taste  of  a  painter  who  adapts  a  new  scene  for  use  on  white  lekythoi, 
experiments  with  a  technique  not  yet  common,  and  adds  a  kalos  in- 
scription. The  archaic  form  of  the  eye  is  found  only  on  a  few  white 
lekythoi  of  Group  A  1  and  on  the  present  specimen;  the  use  of  thinner 
glaze  and  the  general  style  of  the  drawing  distinguish  this  lekythos 
from  those  of  Group  A,  though  it  may  belong  to  the  same  period. 

Both  the  figures  on  this  vase  have  been  found  on  the  lekythoi 
already  discussed.  Women  seated  at  home  are  often  seen  on  lekythoi  of 
Group  B;  one  of  them  2  is  engaged  in  the  same  act  of  lifting  a  wreath. 
The  man  leaning  on  a  staff  under  his  arm  and  turned  so  that  he  presents 
his  back  to  the  spectators  is  common  on  red-figured  vases  of  the  period; 
the  attitude  is  discussed  above  in  connection  with  one  lekythos  on  which 
it  occurs.3  What  is  new  here  is  the  particular  type  of  domestic  scene 
in  which  the  figures  are  combined,  viz.  the  visit  of  a  middle-aged  man 
to  a  woman  in  her  home.  The  two  types  appear  with  other  figures 
in  a  scene  which  is  distinctly  marked  as  a  gynaikeion  by  the  occupa- 
tions going  on  there;  4  the  present  group  may  be  described  as  an  excerpt 
from  such  a  gynaikeion  scene,  like  the  excerpts  of  Class  II.5  The  visit 
of  a  youth  to  a  woman  in  the  woman's  apartments  is  often  depicted  on 
red-figured  vases  of  the  fine  period.  He  brings  a  bird  as  a  present  ° 
or  jewels  in  a  casket  ;7  in  the  present  instance  the  quail  on  the  woman's 
lap  may  be  the  man's  gift,  or  it  may  be  simply  the  woman's  own  pet. 
Such  pets  often  occur  as  the  only  sign  that  the  interior  of  the  house  is 

1  Group  A  I,  4,  Athens,  Nat.  Mus.  1809;  II,  16,  Athens,  Nat.  Mus.  1964. 

2  Group  B  IV,  3,  no.  2,  Athens,  Nat.  Mus.  1847.     The  woman  seated  at  home  also  occurs  in  domes- 
tic scenes  of  the  present  group,  e.g.  no.  49,  Athens,  Nat.  Mus.  1818. 

8  Group  A  III,  55,  Munich,  Jahn,  199. 
*  Tischbein,  IV,  pi.  i. 
6  P.  57  supra. 

6  In  a  cage  (?),  Man.  last.  IV,  Tav.  xxiv  ;  in  the  hand,  Tischbein,  IV,  pi.  xxxix.     Hermann,  GriecA. 
Pri-vata/tertumer,  S.  Il6,  A.  2  and  3. 

7  Gerhard,  Aus.  Vasen.  Taf.  301,  I  ;  cp.  Man.  Inst.  IV,  Tav.  xxiii. 


GROUP  C:    CLASS  V,  14-15  199 

intended.1  It  is  only  on  lekythoi  with  drawing  in  dull  color  that  the 
bird  is  actually  in  or  on  the  hand  of  one  of  the  persons  represented. 
It  seems  that  the  tame  bird  is  brought  to  the  tomb  for  the  definite 
purpose  of  amusing  the  deceased  with  his  own  earlier  pets.2  The 
duck  (or  goose)  and  small  birds  like  thrushes  or  finches  are  commonly 
shown  as  house  pets;  the  quail  occurs  quite  rarely.8 

14.  Berlin,  Furtw.  2445.     Sunion.     H.  0.26  m. 

On  the  shoulder  three  palmettes  with  leaves  alternately  in  black  glaze  and  in  red. 
Fine  white  slip.  Complicated  maeander  broken  by  checker-board  squares.  Drawn  in 
rather  coarse  lines  of  thin  yellow  glaze  (nearly  black  for  hair,  lekythos,  etc.).  Fold-lines 
of  garments  in  glaze.  Red  is  used  for  garments  and  taeniae. 

A  slender  stele  with  palmette  in  the  triangular  top  rises  from  three  steps  decorated 
with  two  wide  black  lines.  Several  large  red  taeniae  are  fastened  around  the  shaft; 
on  the  base  rests  a  thick  crown  marked  with  black  spots. 

At  the  left  a  bearded  man  in  profile  stands  leaning  on  a  stick  under  his  left  shoulder, 
his  right  hand  is  raised  to  his  head  in  mourning,  in  his  left  he  holds  out  a  black  lekythos. 
He  wears  a  dark  red  himation,  sandals,  and  a  fillet  in  darker  glaze  than  the  rest  of  the  hair. 

A  youth  approaches  from  the  opposite  side,  his  left  hand  on  his  hip,  holding  out  in 
his  right  hand  a  long  red  taenia.  He  wears  a  himation  with  red  edge. 

15.  Berlin,  Furtw.  2446.     Sunion.     H.  0.256  m. 

Ornamentation  like  the  previous  vase  except  that  the  maeander  is  broken  both  by 
checker-board  squares  and  by  horizontal  crosses.  The  style  of  drawing  is  the  same; 
the  hair  is  more  yellow. 

A  slender  stele  with  suggestion  of  a  palmette  in  the  triangular  top  rises  from  two  steps; 
three  red  taeniae  outlined  in  glaze  are  tied  around  it;  on  the  lower  step  stands  a  red 
pitcher.  Above  at  the  left  a  lekythos  hangs  in  the  field. 

At  the  left  stands  a  man,  wrapped  in  a  dark  red  himation,  tearing  his  hair  with  his 
right  hand.  Opposite  him  stands  a  woman  holding  out  a  red  flower  (?)in  her  right 
hand.  She  wears  an  Ionic  chiton  without  color  and  a  red  himation  covering  the  left 
hand;  her  hair  is  bound  up  in  a  small  knot. 

The  gesture  of  mourning,  i.e.  one  or  both  hands  raised  to  the  head 
as  if  to  tear  the  hair,  does  not  occur  again  in  the  lekythoi  catalogued 
under  the  present  class;  in  later  classes  it  occurs,  though  it  is  not 
common  except  in  the  "prothesis  "  scenes.4  It  may  be  regarded  here 

1  Group  B  IV,  3,  no.  10,  Athens,  Nat.  Mus.  1963  ;  C  V,  46,  Brit.  Mus.  D  51,  etc. 

2  Atheni,    Nat.  Mus.  1768;  Stackelbcrg,  Grater  Jer  Hef/enea,  Ta/.   xlvi,  i  ;    Louvre  MNB   17x9, 
Pettier,  Licythet  blanct^  pi.  iv. 

•Tischbein,  V,  pi.  xl ;  Munich,  Jahn,  358;  lekythos,  C  V,  46,  Brit.  Mus.  D  51  ;  Tbchbein,  II, 
pi.  xxxii,  xxxiii,  with  which  compare  the  lekythoi  mentioned  in  proceeding  note.  The  quail  occurs  on  a  red- 
figured  hydria  in  St.  Petersburg,  Comptei  renJut,  Atlas,  1865,  pi.  iv,  3  ;  and  on  a  lekythos  in  Berlin  (Furtw. 
2459)  with  outlines  drawn  in  dull  color. 

4  Cf.  Class  VI,  i,  no.  15,  Athens,  Nat.  Mus.  1993;  no.  15,  Munich,  Inren.  1170.  The  gesture  is 
more  common  in  the  first  class  of  rases  with  drawing  in  dull  color.  Oftentimes  the  tale  "souls"  show  the 
same  gesture  of  lamenting,  e.g.  on  Class  V,  no.  70,  Brit.  Mus.  D  54. 


2OO 

as  one  of  the  realistic  traits  found  in  the  earlier  series  of  this  class  (a-c) 
as  contrasted  with  the  conventional  treatment  of  the  scene  in  series 
d  and  e.  The  lekythos  in  the  field  is  a  modification  of  the  object 
hanging  on  the  wall  of  a  house  in  the  domestic  scenes;  it  is  a  lekythos 
because  it  is  at  the  grave,  but  there  is  no  wall  on  which  it  may  hang. 

The  peculiar  type  of  wreath  on  the  base  of  the  stele  of  no.  14  ap- 
pears as  a  characteristic  feature  of  the  lekythoi  of  series  e.  Probably 
it  should  be  regarded  here  as  something  which  the  painter  copied  from 
reality,  and  that  even  more  literally  than  the  wreaths  on  the  base  of 
the  stele  on  a  lekythos  of  the  next  series.1  If  this  explanation  is  cor- 
rect, we  might  go  farther  and  say  that  its  peculiar  shape  is  either  a 
rude  effort  to  give  perspective  or  that  it  shows  the  wreath  as  the  man 
saw  it,  partly  bent  down  by  its  own  weight. 

16.    Berlin,  Furtw.  2447.     Sunion.     H.  0.255  m- 

Ornamentation  and  style  like  no.  15.  Apparently  the  dark  red  used  for  the  garment 
was  added  to  enforce  the  outlines  of  the  scene,  even  the  outlines  of  the  hair.  Much 
damaged. 

The  scene  consists  of  a  single  figure  with  no  grave  stele.  A  woman  (her  body  en 
face)  moves  toward  the  right,  carrying  in  both  arms  a  naked  dead  boy.  The  stiffness  of 
the  dead  body  is  realistic.  The  woman  wears  a  long  chiton  in  outline  and  a  red  hima- 
tion.  A  thick  red  taenia  is  about  her  head,  and  her  hair  is  short.  In  the  field  at  the 
left  hangs  a  large  taenia  such  as  was  used  to  tie  on  grave  stelai. 

There  could  be  no  better  example  than  this  lekythos  of  the  realistic 
tendency  which  so  completely  disappears  in  vases  of  the  so-called 
Hygiainon  series.  A  dead  body  is  represented  on  outline  lekythoi 
of  later  classes  in  the  protbesis  scene  and  in  the  scene  of  actual  burial. 
The  prothesis  scene  may  be  accounted  for  because  it  was  here  that 
lekythoi  were  actually  in  use;  the  burial  scene  is  always  idealized  to 
a  certain  extent  by  the  presence  of  the  winged  figures  of  Death  and 
Sleep;  only  here  has  the  painter  deliberately  chosen  to  represent  in 
bald  literalness  the  fact  of  death.2  As  on  the  previous  vase  the  object 
hanging  on  the  walls  does  not  suggest  the  home,  but  the  grave;  it  is  a 
grave  taenia  hanging  where  there  is  no  wall. 

These  three  lekythoi,  nos.  14  to  16,  were  found  together,  and 
resemble  each  other  in  technique  so  closely  that  we  may  regard  them 

1  Class  V,  22,  Athens,  Nat.  Mus.  1935. 

2  The  nearest  parallel  to  this  scene  is  a  lekythos  with  drawing  in  dull  color  belonging  to  a  much  later 
class  (Oxford,  Ashm.   Jour.   Hell.  Stud.  XV,  p.  328).       Before  the  stele  comes  a  woman  carrying  a  dead 
child,  apparently  on  a  flat  tray.      In  that  case  as  in  the  present  case,  the  scene  is  an  unsuccessful,  grewsome 
experiment ;  the  only  difference  is  that  the  painters  of  lekythoi  of  the  first  part  of  Class  V  are  consistently 
modifying  the  lekythos  scenes  by  introducing  literal  elements ;   the  painter  of  the  Oxford  lekythos  surprises  us 
by  this  freak  in  a  series  that  follows  conventional  lines  rather  closely. 


GROUP  C:    CLASS  V,  16-17 


20 1 


as  from  the  same  hand.  The  use  of  thin  yellow  glaze  with  rather  a 
coarse  brush  for  outline  drawing  on  a  slip  originally  pure  white  is 
unusual.  It  seems  that  the  picture  was  completed  with  this  glaze 
outline,  and  that  the  dark  red  paint  was  then  applied  in  such  a  manner 
that  it  easily  rubbed  off  the  wide  glaze  lines,  leaving  these  original 
outlines  exposed.  The  man  at  the  left  of  the  stele  on  no.  15  was  drawn 
first  without  a  garment,  and  the  glaze  lines  of  his  legs  now  appear 
through  the  dark  red  like  the  lines  of  a  preliminary  sketch;  in  fact  the 
glaze  lines  serve  the  same  purpose  as  the  sketch  lines  with  a  dull  point 
in  giving  the  basis  for  the  figure.  It  is  only  on  these  three  vases  that 
we  find  any  trace  of  the  effort  to  reenforce  glaze  outlines  with  a  brush 
containing  red  paint;  the  attempt  was  quite  unsuccessful,  and  can  be 
explained  only  as  an  experiment  in  the  direction  of  the  general  use  of 
dull  color  on  outline  lekythoi. 

17.    Berlin,    Inven.    3383.     Source    not    known.     H.    0.336    m. 
(Fig-  44-) 

The  body  of  the  vase  expands  slightly  below  the  shoulder.     Slip  very  smooth  and 
white.     The  scroll   and   palmette  pattern  on  the  shoulder  is   unusually  complicated; 
alternate  leaves  of  the  palmettes 
are  dark  red.  Complicated  maean- 
der  broken    by  complete   oblique 
cross    squares.      Drawn    in    fine 
lines  of  light  yellow  glaze;    hair 
in     black     blotches    with     yellow 


I 


ends;  garments  and  taeniae  on 
stele  in  a  pink  wash.  The 
preliminary  sketch  (which  gave 
the  figure  at  the  right  a  slightly 
different  position)  is  in  lines  of 
transparent  glaze. 

A  slender  tapering  stele  rises 
from  three  steps;  two  taeniae  are 
fastened  to  the  shaft;  at  the  top 
is  an  egg  moulding  and  a  pal- 
mette resting  on  scrolls. 

At  the  left  a  woman  in  profile  FIG.  44  (no.  17). 

approaches,  holding  a  smegmato- 

theke  in  her  right  hand  and  a  flat  box  or  basket  on  her  left  arm.  She  wears  a  long 
sleeve  chiton  in  outline  and  a  himation  in  faded  pink;  her  hair  is  in  a  loose  knot,  with 
lock  free  in  front  of  her  ears. 

Opposite  her  stands  a  youth  en  face,  looking  at  the  stele  and  holding  his  right  hand 
out  (palm  out)  toward  the  stele.  His  only  garment,  a  large  himation  now  pink,  covers 
his  left  hand  and  arm. 


202  ATHENIAN  WHITE   LEKYTHOI 

The  use  of  thin  yellow  glaze  for  the  drawing  and  the  similar  pro- 
portions of  the  figures  lead  me  to  classify  this  vase  with  the  three 
preceding  in  spite  of  important  differences.  The  stele  is  of  a  type 
which  later  is  characteristic  of  one  large  group  of  lekythoi  with  drawing 
in  dull  color.  The  toilet  vase  is  rarely  found  outside  Groups  B  and  C  ; 
otherwise  the  scene  has  little  or  nothing  to  deserve  notice.  While  the 
woman  is  gracefully  drawn,  the  youth  with  body  and  feet  seen  directly 
from  the  front  reminds  one  of  some  stiff  figures  in  the  preceding  group. 
The  use  of  thin  glaze  for  the  preliminary  sketch  is  unusual  except  in 
Class  VI.  It  is  a  modification  of  the  free  use  of  glaze  under  color 
on  the  preceding  vases,  which  is  found  occasionally  on  vases  of  the 
present  group. 

The  first  vase  in  this  series  is  unique  and  is  classified  here  only  for 
convenience;  strictly  speaking,  it  is  quite  outside  the  lines  of  classifica- 
tion which  have  proved  useful  for  almost  all  these  outline  lekythoi. 
The  three  vases  from  Sunion  belong  at  this  point  in  the  general  line 
of  development.  They  preserve  the  coarse  lines  of  pure  yellow  glaze 
which  are  found  on  characteristic  specimens  of  the  first  series,  but 
the  slip  is  of  the  white  chalky  variety  found  on  the  following  series. 
Here  again  the  palmettes  have  both  black  and  red  leaves;  this  use  of 
red  on  the  shoulder  is  found  on  many  later  types  of  lekythoi,  but  it 
does  not  occur  regularly  on  later  specimens  of  Class  V.  The  only 
color  besides  glaze  used  on  these  lekythoi  is  red,  sometimes  rather 
dark  when  it  is  applied  thickly,  but  becoming  pinkish  when  it  is  thin. 
The  general  proportions  of  the  figure  and  in  particular  the  shape 
of  the  head  are  different  from  what  was  seen  in  series  a.  Some  ele- 
ments remain  in  the  following  series;  in  general,  however,  these  vases 
stand  at  one  side  and  contribute  little  to  the  later  development. 


C.    Drawing  in  rather  coarse  black  glaze  lines. 

A  small  series  of  lekythoi  closely  related  continue  the  tradition  in 
many  points  from  series  a.  The  slip  here  is  o'f  fine  chalky  white,  the 
ornament  is  nearer  the  type  which  soon  becomes  typical,  and  the 
drawing  is  done  with  a  glaze  that  comes  out  almost  black.  The  heavy, 
quite  even  lines  recall  the  yellow  lines  of  the  previous  series,  many 
details  in  the  figures  are  similar,  and  the  same  spirit,  the  same  con- 
tact with  reality,  is  found  again  here.  The  almost  entire  absence  of 


GROUP  C:    CLASS  V,  20 


203 


color,  except  on  the  one  "  Prachtstiick,"  may  be  partly  due  both  here 
and  in  series  a  to  the  use  of  materials  which  would  not  stand  the  test 
to  which  these  lekythoi  have  been  subjected.1 

20.  Athens,  Nat.  Mus.  1958,  Cv.  1690.  Eretria.  H.  0.37  m. 
Ae\n'oi>,  1892,  cr.  77,  7;  Jour.  Hell.  Stud.  XIX,  172.  (Fig.  45.) 

On  the  shoulder  egg-pattern  and  three  palmettes  (in  front  the  palmette  has  six 
leaves);  the  maeander  is  broken  by  checker-board  square.  Drawing  in  rather  coarse 
black  lines;  no  color. 


FIG.  45  (no.  20). 

In  the  centre  a  stele  rises  on  three  steps  and  is  crowned  by  a  rather  large  acroterion; 
above  an  egg-pattern  is  a  black  triangle  with  reserved  palmette,  while  at  each  side  is 
a  scroll  ornament  with  small  palmette  in  outline.  At  the  top  of  the  shaft  is  an  imitation 
inscription  in  five  lines;  belqw  it  an  outline  taenia  is  tied  around  the  shaft.  On  the 
lowest  step  are  four  circles. 

At  the  left  stands  in  profile  a  woman  holding  out  a  taenia  with  hatched  pattern  in 
her  right  hand,  and  with  her  left  raising  her  himation  to  wipe  the  tears,  from  her  eyes. 
She  wears  a  chiton  with  long  loose  sleeves  and  himation.  A  fillet  holds  the  knot  of  hair 
at  the  back  of  her  head. 


1  The  first  three  numbers  have  been  ditcuMed  by  Bosanquet,  Jo*r.  He/I.  StuJ.  XIX,  169. 


204  ATHENIAN  WHITE   LEKYTHOI 

Opposite  her  stands  in  profile  with  bowed  head  a  young  woman  (?)  holding  out  in 
both  hands  a  large  basket  containing  fruit  (pomegranates)  and  taeniae.  Her  hair  is 
short;  she  wears  chiton  and  himation  draped  from  behind  over  both  arms.  In  front 
of  her  hangs  a  small  lekythos. 

The  imitation  inscription  has  been  discussed  in  connection  with 
no.  10  (p.  193);  in  spite  of  the  carelessness  of  that  vase  some  other 
points  of  resemblance  with  the  present  number  might  be  traced, 
resemblances,  however,  which  are  common  to  other  members  of  both 
series.  The  figure  at  the  left  is  peculiarly  interesting  in  the  literal- 
ness  of  its  conception.  Occasionally  on  later  lekythoi,  for  instance 
in  the  earliest  class  with  drawing  in  dull  color,  a  man  is  represented 
as  tearing  his  hair,  though  this  is  unusual  except  in  prothesis  scenes. 
The  simplicity  with  which  this  woman  raises  her  garment  to  wipe  away 
the  tears  that  could  not  be  restrained  is  evidently  copied  from  reality. 
The  outline  of  the  back  of  the  figure  and  the  large  loose  sleeve  are 
often  seen  on  vases  of  Group  B.  The  taenia  with  peculiar  marking 
which  she  holds  out  occurs  on  most  of  the  lekythoi  of  series  e  in  the 
present  class.  In  spite  of  the  full  drapery  and  the  basket  which  is 
almost  always  carried  by  women,  the  short-haired  person  at  the  right 
may  be  a  young  man.  The  short  hair,  as  Bosanquet  suggests,  might 
indicate  a  slave;  both  the  face  and  the  figure  look  more  like  those  of 
a  youth. 

21.  Athens,  Nat.  Mus.  1959,  Cv.  1691.  Eretria.  H.  0.36  m. 
AeXrtoz/,  1892,  cr.  77,  8;  Jour.  Hell.  Stud.  XIX,  172. 

The  shoulder  ornament  is  like  that  on  the  previous  vase  and  the  maeander  is  broken 
by  the  checker-board  square.  Drawn  in  coarse  lines  of  black  glaze.  A  color  now  pink 
is  used  for  taeniae  and  one  garment. 

In  the  centre  a  short  shaft  rises  from  three  high  steps  and  is  crowned  by  a  rounded 
top  with  egg-pattern  and  reserved  palmette.  On  the  shaft  are  tied  three  pink  taeniae. 
There  are  traces  of  four  circles  on  the  lower  plinth. 

At  the  left  a  woman  stands  en  face,  looking  at  the  stele  with  bowed  head.  In  her 
right  hand  she  holds  up  a  small  lekythos;  on  her  left  arm  is  a  large  deep  basket  contain- 
ing taeniae.  She  wears  an  outline  chiton,  girded  over  a  long  overfold.  A  fillet  holds 
the  knot  of  hair  at  the  back  of  her  head. 

On  the  right  a  youth  sits  on  the  second  step  with  back  toward  the  stele,  holding  a 
spear  on  his  right  shoulder.  He  wears  a  short  pink  garment,  boots  laced  nearly  to  the 
knee,  and  a  high  round  cap.  Above  him  a  taenia  hangs  looped  up,  while  on  the  opposite 
side  of  the  stele  hangs  a  small  purse. 

As  on  the  previous  vase,  the  lines  of  the  figure  at  the  left  of  the  stele 
suggest  figures  on  vases  of  the  previous  group.  This  manner  of  wear- 
ing the  chiton  belongs  to  a  rather  limited  epoch  soon  after  the  middle 


GROUP  C:    CLASS  V,  21-22  205 

of  the  fifth  century  B.C.  It  has  occurred  on  a  few  vases  of  Classes  II 
and  III;  except  on  the  figure  of  Athena,  which  was  influenced  by  the 
plastic  type,  it  is  rarely  seen  on  red-figured  vases  of  the  fine  period. 
Though  the  figure  itself  has  nothing  unusual  about  it,  in  combination 
with  the  somewhat  pensive  youth  on  the  other  side  of  the  stele,  it  forms 
a  group  as  literal  as  that  on  the  preceding  vase.  On  later  lekythoi  one 
sees  the  dead  himself  sitting  by  the  stele;  such  an  interpretation  of  this 
scene  would  be  out  of  line  with  the  simple  literalness  of  the  artists 
who  painted  the  lekythoi  of  this  group.  It  is  simply  a  mourner,  a 
young  ephebos,  who  rests  on  the  steps  of  the  tomb,  thinking  perhaps 
of  a  brother  he  has  lost.1 

22.  Athens,  Nat.  Mus.  1935,  Cv.  1692.  Eretria.  H.  0.49  m. 
AeXnW,  1889,  cr.  136,  i;  Jour.  Hell.  Stud.  XIX,  169,  pi.  ii. 

Scarcely  any  of  the  shoulder  ornament  is  visible.  Maeander  complicated,  unbroken 
except  by  the  top  of  the  stele.  Drawn  in  nearly  black  glaze;  light  brown  and  blue  are 
used  sparingly. 

The  shaft  of  the  stele  rises  from  six  steps  and  is  crowned  with  a  triangular  pediment 
with  egg-pattern  and  reserved  palmette.  From  the  fourth  step  rises  an  elliptical  tumulus 
with  wreaths  on  its  top.  On  the  shaft  is  one  outline  taenia.  On  the  third  and  sixth 
steps  stand  lekythoi  with  wreaths  hanging  from  alternate  ones.  On  the  second  step  are 
six  circles  (black  outlines  filled  in  with  brown),  on  the  bottom  step  a  spray  of  foliage. 

At  the  left  a  youth  stands  en  face,  looking  at  the  stele;  on  his  left  shoulder  are  two 
spears;  his  right  hand  rests  on  his  hip.  He  wears  a  brown  chlamys  with  black  folds;  a 
blue  petasos  hangs  on  his  shoulder.  Long  curls  of  hair  drop  on  his  neck. 

At  the  right  a  woman  rests  her  left  foot  on  the  lower  step  and  holds  out  a  shallow 
basket  containing  wreaths.  She  wears  a  Doric  chiton  with  long  overfold  from  the  shoul- 
der; her  hair  is  gathered  in  a  round  knot  at  the  back  of  the  head,  and  pulled  out  loose 
around  the  face.  Above  her  in  front  hangs  a  small  iekythos,  and  behind  her  a  mirror. 

Although  this  Iekythos  resembles  the  two  preceding  in  so  many 
details  that  we  must  regard  them  as  coming  from  the  same  shop,  pos- 
sibly from  the  same  hand,  it  is  of  so  much  finer  workmanship  as  to 
stand  quite  by  itself.  Alone  with  so  much  "shop-work"  it  is  an  ex- 
ample of  what  the  Iekythos  painter  could  do  in  a  large  simple  manner 
when  there  was  occasion  for  something  better.  To  match  the  graceful 
figure  of  the  ephebos  on  the  left  one  must  turn  to  the  best  red-figured 
vases  of  the  fine  period.  The  Achilles  standing  alone  on  one  side  of 
a  beautiful  amphora  in  the  Vatican  2  repeats  this  type  almost  exacth  . 
-  a  youth  standing  on  his  left  leg  and  leaving  the  right  free,  his  right 
hand  on  his  hip,  the  spear  on  his  right  shoulder,  —  though  the  Achilles 

1  For  the  crowed  legt  cp.  the  seated  man  on  a  vase  in  Vienna,  Sacken-Kenner,  S.  lot,  116,  Laborde, 
I,  pi.  xxii.  «  Gerhard,  AM  faitn.  Taf.  184;  Mm.  Gregtr.  II,  58. 


2o6  ATHENIAN  WHITE   LEKYTHOI 

is  in  armor  and  his  head  is  smaller.  In  other  words  this  is  an  excellent 
specimen  of  a  red-figured  type  which  could  hardly  have  been  repro- 
duced except  by  a  hand  trained  to  do  the  same  thing  in  the  other 
technique.  Though  both  figures  have  a  somewhat  severe  profile, 
the  woman  on  the  right  belongs  as  clearly  to  this  class  of  outline  leky- 
thoi  as  the  youth  to  red-figured  "  Nolan"  amphorae.  The  Doric  chiton 
falls  over  her  raised  knee,  as  she  leans  forward  holding  out  her  bas- 
ket, in  lines  almost  too  detailed  and  realistic  for  the  highest  beauty. 
This  treatment  of  the  folds  of  the  garment  and  the  way  the  hair  is 
drawn  tightly  across  the  top  of  the  head,  between  the  loose  locks  in 
front  and  the  knot  behind,  have  already  been  mentioned  in  connection 
with  earlier  vases  of  this  class.1  As  on  these  other  lekythoi,  the  painter 
is  working  from  reality,  drawing  the  woman  as  he  has  seen  her  holding 
out  her  basket  at  the  tomb. 

The  large  oval,  supposed  to  represent  the  tumulus  proper,2  which 
is  fairly  common  in  Groups  C  and  D,  appears  here  for  the  first  time; 
as  is  frequently  the  case,  it  stands  well  up  on  the  steps,  though  not  on 
the  top  step  of  all.  The  blue  foliage  on  top  of  it  is  peculiar  to  the  pres- 
ent specimen.  The  reserved  palmette  on  the  acroterion  is  regarded 
by  Bosanquet  as  a  literal  reproduction  of  the  palmette  with  egg  mould- 
ing underneath  as  it  was  carved  in  relief  on  the  shaft  of  a  stele.3  This 
literal  reproduction  of  actual  scenes  is  a  striking  characteristic  of  the 
present  series;  still  the  device  in  question  would  hardly  occur  here 
except  that  on  red-figured  vases  the  egg  moulding  and  the  palmette 
used  with  the  scroll  for  ornament  is  given  just  this  "reserved"  form. 
Like  the  youth  at  the  left  of  the  stele,  it  is  a  red-figured  type  transferred 
with  little  or  no  change  to  an  outline  lekythos.  The  effect  is  to  make  the 
stele  a  little  top-heavy,  so  that  the  device  is  soon  discarded.  — The 
presence  of  vases  on  the  steps  of  the  stele  has  been  mentioned  above  ; 4 
the  wreaths  hanging  from  alternate  vases  are  either  a  convention  of 
the  painter  or  an  indication  that  the  vases  were  in  some  way  fastened 
in  place  so  as  not  to  be  pulled  down  by  the  weight  of  the  wreaths. 
Pictures  of  broken  vases  5  show  that  they  often  were  not  fastened  in 
place.  Large  vases,  however,  must  have  been  held  in  place,  as  were 
the  large  marble  vases  which  later  constituted  the  grave  monument.6 

1  No.  4,  page  187.     The  same  garment  is  treated  in  the  same  manner,  and  the  head  is  similar,  though 
the  figure  as  a  whole  is  entirely  lacking  in  the  grace  possessed  by  this  woman. 

2  On  black-figured  ware,  e.g.    Gerhard,  Aui.    Vascn.  Taf.  199;   on   red-figured   ware,   e.g.    Harrison, 
Prolegomena  to  the  Study  of  Greek  Religion,  fig.  45.  8  A  similar  palmette  occurs  on  nos.  20,  21,  and  58. 

4  p.   187  and  note  4,  no.  4,  of  this  class.  6  C  VI,  I,  no.  25,  Munich,  Inven.  2170. 

8  Cp.  the  vase,  no.  26  infra  ;  also  Man.  Intt.  VIII,  Tav.  v. 


GROUP  C:    CLASS  V,  23-24  207 

If  one  considers  the  literalness  of  the  painters  of  this  series  in  other 
respects,  it  seems  probable  that  these  small  lekythoi  were  perhaps  made 
of  bronze  and  were  fastened  in  place.  — The  row  of  circles  on  the 
second  step  of  the  base  occurs  only  on  two  or  three  other  lekythoi.1 
It  has  been  suggested  by  Mr.  Bosanquet  that  as  the  oval  of  the  tumulus 
seems  to  give  the  ground  plan  in  an  effort  to  give  perspective,  so  these 
circles  are  intended  to  represent  holes  in  the  hori/ontal  step  of  the 
base.  The  only  other  explanation  possible  is  that  they  represent  some 
ornament,  as  for  example  rosettes,  on  the  perpendicular  surface  of 
the  step.  It  is  not  easy  to  see  why  holes  for  vases  should  be  left  with- 
out the  vases  on  a  finished  monument;  nor,  if  rosettes  were  intended, 
is  there  any  real  reason  why  the  painter  should  not  have  made  rosettes 
when  other  points  are  given  with  such  detailed  literalness. 

23.  Leyden,  555.     H.  about  0.30  m. 

On  the  shoulder  are  traces  of  three  normal  palmettes  with  added  red  leaves.  No 
maeander  remains,  nor  are  there  any  traces  of  color  in  the  scene.  The  outlines  are  drawn 
in  even  lines  of  glaze  (not  very  fine)  which  have  faded  to  a  dull  brown.  The  hair  of 
the  youth  is  drawn  in  close  parallel  lines. 

On  three  steps  stands  a  simple  shaft  with  square  top. 

At  the  right  a  woman  standing  en  face  extends  her  right  hand,  palm  out,  toward  the 
stele;  on  her  left  arm  she  carries  a  kanistron.  She  wears  a  chiton  with  long  overfold; 
her  hair  is  in  a  round  knot  at  the  back  of  her  head. 

Opposite  her  a  youth  in  profile  holds  out  his  right  hand,  palm  down,  toward  the 
stele;  on  his  left  arm  hangs  a  chlamys,  and  in  his  hand  he  carries  a  spear. 

24.  Leyden,  556.     H.  about  0.30  m. 

On  the  shoulder  are  three  normal  palmettes  with  added  red  leaves,  and  extra  leaves 
in  the  scroll  by  the  handle.  The  maeander  is  simple.  Drawn  in  even  lines  of  black 
glaze;  no  trace  of  any  color  remains. 

On  three  steps  stands  a  simple  shaft  with  square  top. 

At  the  right  a  youth  en  face  carries  in  his  left  hand  a  spear  erect,  and  holds  out  his 
right  hand  (palm  in)  toward  the  stele.  He  wears  a  chlamys,  and  his  hair  is  in  long  curls. 

Opposite  him  a  youth  in  profile  carries  two  spears  on  his  left  shoulder  and  rests  his 
right  hand  on  a  short  staff.  His  short  chiton  is  girded  and  the  sides  are  pulled  out  loose 
over  the  girdle.  His  hair  is  short  and  not  curly. 

These  two  vases  are  evidently  a  pair,  and  they  are  closely  allied  to 
the  lekythos  to  be  discussed  next.  The  stele  with  plain  flat  top  is 
characteristic  of  the  first  group  of  lekythoi  in  dull  color,  but  a  few 
more  specimens  are  found  in  Class  VI.  These  rather  clumsy,  heavy 
figures  with  short  legs  have  little  in  common  with  most  of  the  figures 

1  Nos.  10  and  zi,  Athens,  Nat.  Mus.  1958  and  (apparently)  1959;  no.  54,  Athens,  Nat.  Mas. 
1960;  C  VI,  a,  no.  n,  Brit.  Mus.  D  56  ;  A  III,  59,  Athens.  Cp.  the  base  of  a  tumulus  on  a  red- 
figured  vase,  Harrison,  Prolegomena  to  tkt  Study  of  Greet  Religion,  fig.  45. 


2o8  ATHENIAN  WHITE   LEKYTHOI 

on  these  lekythoi.  The  long,  prominent  nose,  the  square  chin,  and 
the  careful  eye  with  small  pupil  against  the  upper  lid  appear  on  both 
vases.  The  work  is  the  painstaking  effort  of  an  unskilled  hand,  rather 
than  the  hasty  product  of  a  skilled  painter. 

25.  Athens,  Nat.  Mus.   1797,  Cv.   1684.     H.   0.41   m.     Dumont- 
Chaplain,  I,  390,  pi.  xxxv. 

The  palmettes  on  the  shoulder  have  disappeared.  Maeander  complicated,  unbroken. 
Drawn  in  even  lines  of  glaze  now  rather  brown;  the  himation  is  in  dull  brown.  The 
preliminary  sketch  with  a  dull  point  can  be  detected. 

The  slender  shaft  of  the  stele  rests  on  three  steps,  and  is  crowned  by  a  leaf  mould- 
ing, scrolls,  and  palmette. 

At  the  left  a  young  girl  in  profile  holds  out  both  hands  toward  the  stele;  in  the  right 
is  an  alabastron,  in  the  left  was  perhaps  a  taenia.  Her  garments  have  entirely  disap- 
peared. Her  hair  falls  in  straight  locks  to  her  shoulders. 

Opposite  her  is  a  bearded  man  in  partial  profile,  resting  his  right  hand  on  his  staff. 
He  wears  a  brown  himation. 

The  even  lines,  once  black,  of  this  scene  recall  the  two  preceding 
vases;  in  particular  the  treatment  of  the  girl's  hair  in  close  parallel 
strokes  is  almost  the  same  as  in  the  case  of  the  youth  at  the  left  of  the 
stele  on  no.  23.  While  the  figures  are  rather  stiff  and  repeat  familiar 
types,  the  drawing  is  extremely  careful  and  much  more  successful  than 
on  the  two  preceding  vases.  The  taenia  about  the  lower  end  of  the 
stele  is  of  a  type  quite  characteristic  of  series  e. 

26.  Cornell  University.     H.  about  0.30  m.     (Fig.  46.) 

Palmettes  on  the  shoulder  normal.  Complicated  maeander  broken  by  oblique 
cross  and  horizontal  cross  of  the  same  form.  Drawing  in  fairly  coarse  lines  of  black 
glaze. 

On  three  steps,  the  middle  one  as  wide  as  it  is  high,  stands  a  large  lekythos,  drawn 
in  outline.  It  is  high  enough  to  reach  into  the  maeander,  which  is  not  broken  at  this 
point.  Except  for  the  large  handle  and  bell-shaped  mouth,  the  lekythos  is  of  the  normal 
type. 

At  the  left  stands  an  ephebos  holding  a  spear  in  his  left  hand,  his  right  hand  against 
his  hip.  He  wears  a  petasos,  a  chlamys  of  some  thick  material,  and  boots  laced  half- 
way to  the  knee. 

At  the  right,  also  facing  the  stele,  a  second  ephebos  sits  on  a  pile  of  rocks  with  right 
foot  drawn  up.  In  his  right  hand  he  holds  two  spears  erect,  in  his  left  a  short  sword  in 
its  scabbard.  His  garment  is  under  him  and  over  one  leg;  he  wears  a  high  round  hat 
and  boots  like  those  of  his  companion.  Both  figures  are  in  three-quarters  profile;  the 
left  arm  of  the  seated  youth  is  foreshortened  (?)  awkwardly. 

The  genuineness  of  the  drawing  on  this  vase  may  well  be  ques- 
tioned. The  peculiarity  of  the  maeander  and  the  figure  at  the  right 


GROUP  C:    CLASS  V,  25-26 


209 


with  its  awkward  lines  and  unusual  face  are  responsible  for  this 
impression.  The  interest  of  the  scene,  however,  the  way  the  monu- 
ment is  carried  up  into  the  maeander,«and  the  readiness  of  the  painters 
of  this  series  to  deviate  from  traditional 
types  of  figures  have  led  me  to  include 
the  lekythos  in  the  present  discussion,  in 
spite  of  my  doubts  as  to  its  genuineness. 
A  large  marble  lekythos  was  a  common 
form  of  the  funeral  monument  in  the 
fourth  century,  while  the  earliest  specimens 
go  back  perhaps  to  the  middle  of  the  fifth 
century;  if  the  present  vase  belongs  in  this 
series,  it  must  be  about  as  early  as  the 
earliest  marble  lekythoi,  though  the  use  of 
large  vases  of  pottery  is  thought  to  have 
been  customary  early  in  the  fifth  century.1 
A  smaller  vase  on  top  of  a  high  stele  oc- 
curred on  a  lekythos  already  discussed, 
and  on  Italian 
red-figured  vases 
of  late  date  the 
high  stele  is  quite 
commonly  sur- 
mounted by  a 
krater  or  similar 
vase.2 

Not  only  the 
broad  black  lines 
of  glaze,  but  the 
treatment  of  the 
hair  in  separate 
locks  with  the 
same  brush,  are 
characteristic  of 
the  present  series. 
The  profile  also 
of  these  youths  is  not  unlike  that  of  the  seated  figure  on  no.  21. 
The  eyes  with  added  lashes  produce  a  different  impression ;  on  the 

1  Atk.  Mitth.  X,  359  f.  and  Taf.  xiii. 

8  No.  10  of  the  present  scries,  Munich  (uncatalogued ) ,  p.  193  ;    an  example  of  the  rate  on  artefc  occur* 
on  an  Italian  vaie  figured  by  TUchbein,  V,  pi.  x. 
P 


FIG.  46  (no.  26). 


aio  ATHENIAN  WHITE   LEKYTHOI 

short  head  of  the  figure  at  the  right  they  seem  to  leave  no  room  for 
the  bridge  of  the  nose.  As  on  nos.  21  and  22,  the  left-hand  figure  is 
conventional.  The  ephebos  is  very  like  the  Hermes  on  a  red-figured 
vase  figured  by  Gerhard.1  The  attitude,  the  dress  except  for  Hermes' 
chiton,  even  the  boots  are  the  same;  the  build  of  the  ephebos  alone 
is  somewhat  heavier  and  more  clumsy.2  On  the  same  vase  Athena 
supports  her  right  elbow  on  the  raised  right  knee,  as  does  the  ephebos 
on  the  right.  Like  the  youth  on  no.  21,  he  is  seated  pensively  by  the 
tomb,  perhaps  the  tomb  of  a  comrade  in  arms.  Perhaps  the  awk- 
ward drawing  of  this  figure  is  due  to  the  unsuccessful  attempt  of 
the  painter  to  give  what  he  had  seen  at  the  tomb. 

27.  Athens,  Nat.  Mus.  1790,  Cv.  1775.     Athens.     H.  0.345  m. 

On  the  shoulder  are  typical  palmettes.  The  maeander  is  broken  by  checker-board 
squares.  Drawing  in  rather  coarse  lines  of  not  very  shiny  black.  Red  and  brown  are 
used  for  garments.  • 

On  three  steps  stands  a  rather  heavy  stele.  The  top  is  circular  with  rude  palmette; 
near  the  top  of  the  shaft  hangs  (or  is  painted)  a  wreath,  and  below  it  a  taenia  is  tied 
around  the  shaft. 

At  the  left  is  a  woman  bringing  a  flat  basket  of  taeniae  to  the  stele.  She  wears  a 
red  chiton,  a  himation  drawn  in  outline,  and  a  wide  cloth  supporting  her  hair  at  the  back 
of  her  head. 

Opposite  her  stands  a  youth,  holding  his  right  hand  out  in  front  of  the  stele  toward 
the  basket.  He  wears  a  long  brown  himation.  Curls  are  drawn  along  the  edge  of  his 
hair. 

This  vase,  which  is  much  the  worse  for  wear,  closely  resembles 
the  one  next  to  be  described  in  style  and  in  many  details  of  the  drawing. 
The  conventional  scene  is  varied  by  the  gesture  of  the  youth,  who  seems 
to  be  taking  one  of  the  taeniae  from  the  basket  to  bind  it  on  to  the  stele. 
The  stele  has  the  same  round  top  as  no.  21,  a  type  which  soon  dis- 
appears. Whether  the  wreath  is  intended  to  represent  a  real  wreath 
or  a  wreath  painted  on  the  actual  stele,  it  points  to  the  practice  of  hang- 
ing wreaths  on  the  stele,  just  as,  on  no.  22,  they  are  hung  from  leky- 
thoi  fastened  on  the  base.  In  any  case  its  presence  is  another  instance 
of  the  literalness  of  the  painter. 

28.  Athens,  Nat  Mus.   1789  (Coll.  651),  Cv.  1681.     H.  0.376  m. 
Benndorf,  Gnech.  Sic.    Vas.  Taf.  xx,  2. 

The  palmettes  on  the  shoulder  are  typical;  the  complicated  maeander  is  broken  by 
checker-board  squares.  The  maeander  and  enclosing  lines  were  added  after  the  main 
sketch  was  complete.  Below  the  scene  are  two  purple  lines  on  the  black  surface.  Drawn 
in  medium  lines  of  black,  not  very  shiny.  Preliminary  sketch  with  a  dull  point.  The 

1  Gerhard,  Aut.  Vaten.  Taf.  144.  2  Cp.  nos.  23  and  24  supra. 


GROUP  C:    CLASS  V,  27-28  211 

tumulus  with  stele  and  taenia  are  drawn  in  dull  color,  now  faded;  no  other  traces  of  color 
remain. 

From  the  high  round  tumulus  rises  a  stele  with  triangular  top  (not  completely  given 
in  Benndorf's  illustration).  Several  taeniae  are  draped  around  the  top  of  the  tumulus, 
and  the  ends  hang  down. 

A  woman  at  the  left  approaches  (both  feet  flat  on  the  ground),  carrying  an  oinochoe 
in  her  left  hand  and  pouring  from  a  phiale  in  her  right  hand.  She  wears  a  chiton  with 
long  loose  sieves  and  a  himation  reaching  below  the  knees,  both  in  outline.  Her  hair  is 
held  up  behind  by  a  cloth  wound  twice  around  her  head. 

At  the  right  a  youth  stands  in  profile  with  head  bowed,  holding  a  spear  in  his  right 
hand.  He  wears  a  short  chiton  and  a  chlamys  which  covers  his  left  arm.  His  hair  is 
drawn  with  little  curls  by  the  same  brush  as  the  rest  of  the  figure;  a  petasos  hangs  on 
his  shoulder. 

Perhaps  on  no  other  lekythos  is  the  tumulus  so  literally  treated  as 
here.  On  a  black-figured  loutrophoros  already  cited  l  the  tumulus 
has  the  same  form;  it  has  the  appearance  of  being  covered  with  stone 
or  tiling,  and  on  the  top  is  represented  one  of  the  grave  amphorae. 
That  scene,  with  its  mourners  about  the  tomb,  is  no  doubt  literal. 
The  tumulus  and  stele  here  may  be  copied  from  reality,  or  it  may  be 
a  tradition  from  the  earlier  ware;  in  either  instance  it  is  true  to  fact. 
With  this  monument  is  combined  a  typical  "farewell"  scene,  as  though 
the  farewell  were  taking  place  at  the  tomb  instead  of  occurring  in  the 
house.  One  type  of  farewell  scene  has  already  been  mentioned,2 
and  others  will  be  discussed  in  connection  with  the  next  series.  The 
proper  farewell  scene  at  the  grave  is  unusual;  on  one  red-figured 
amphora  of  about  this  period  3  an  ephebos  is  represented  with  two 
women  at  a  grave  stele,  but  as  both  women  have  offerings  for  the  tomb 
it  is  not  distinctly  a  farewell  scene.  As  compared  with  such  scenes, 
the  present  vase  differs  in  that  ordinarily  the  woman  has  only  a  Doric 
chiton,  not  the  Ionic  chiton  and  himation,4  i.e.  the  scene  is  ordinarily 
placed  in  the  house.  On  one  vase  figured  by  Tischbein  5  the  two 
figures  reappear  as  on  this  vase,  but  two  other  persons  also  are  repre- 
sented. Moreover  the  departure  of  a  warrior  in  full  armor  is  given 
more  commonly  than  the  departure  of  an  ephebos.*  In  spite  of  these 
differences  the  scene  belongs  distinctively  to  red-figured  ware,  and 
all  of  these  figures  are  types  on  such  ware. 

The  high  round  head  of  the  ephebos  reminds  one  of  the  heads  in 
series  e.  The  treatment  of  the  garment  folds,  however,  as  well  as  the 

1  Gerhard,  Ant.  Vaan.  Taf.  199.  »  No.  i,  Berlin,  Furtw.  1444,  p.  183. 

*  Vienna,  Sacken-Kenner,  168,  Tijchbein  V,  pi.  xv. 

4  E.g.  Vienna,  Sacken-Kenner,  S.  109  (i)  and  aoi  (116),  Laborde,  I,  pi.  ui  and  xxii. 

«  Tischbein,  I,  pi.  xiv.  •  Gerhard,  AM.  ft**.  Taf.  IJ§. 


212  ATHENIAN  WHITE   LEKYTHOI 

broad,  dull-black  glaze  lines,  are  sufficient  to  justify  the  classification 
of  the  vase  here,  even  apart  from  the  kind  of  maeander.  The  two 
purple  lines  on  the  black  below  the  scene  are  an  interesting  example 
of  an  early  tradition  persisting  long  after  it  has  been  generally  dis- 
carded. 

29.    Athens,  Private  Collection.     H.  0.318  m. 

Typical  palmettes  with  red  alternate  leaves  on  the  shoulder.  Drawn  in  fairly  coarse 
lines  of  black  glaze,  now  rather  dull.  Two  shades  of  red  and  a  blue  occur. 

On  three  steps  stands  a  slender  stele  surmounted  by  a  low  pediment;  there  are  traces 
of  a  light  red  taenia  near  the  base. 

At  the  left  a  woman  stands  squarely  on  both  feet,  looking  at  a  light  blue  taenia  which 
she  holds  out  in  both  hands.  She  wears  a  Doric  chiton,  and  her  hair  is  held  by  a  cord 
wound  around  it  five  times. 

At  the  right  stands  a  youth,  wrapped  in  a  large  red  himation. 


The  present  series  is  connected  with  series  a  much  more  closely 
than  with  series  b.  The  change  of  paint  used  in  the  drawing  from  a 
thin  yellow  glaze  to  a  rather  dull  black  glaze  constitutes  the  most  im- 
portant difference,  while  the  slightly  yellow  slip  found  in  most  in- 
stances of  the  first  series  does  not  occur  here.  The  left-hand  figure  on 
no.  20  preserves  both  the  garments  and  the  treatment  of  the  hips  under 
the  garments  from  Group  B,  as  do  certain  specimens  of  series  a. 
It  is  only  in  these  two  series  that  an  imitation  inscription  is  found, 
and  the  checker-board  break  in  the  maeander  is  rare  on  other  lekythoi. 
The  treatment  of  the  garment  folds  on  the  left-hand  figure  of  no.  20 
and  the  right  figure  of  nos.  22  and  28  is  quite  in  the  style  of  series  a. 
Finally,  the  shape  of  the  head  and  treatment  of  the  hair  on  the  left-hand 
figure  of  nos.  20  and  21  and  the  right-hand  figure  of  no.  22  correspond 
to  a  type  pointed  out  in  connection  with  series  a. 

In  contrast  with  the  lotus  bud  on  the  shoulder  of  lekythoi  in  the 
first  series,  the  ornament  is  much  nearer  the  type  common  in  the  follow- 
ing series.  The  alternate  leaves  of  red  in  the  palmettes  are  found  on 
most  of  these  specimens  as  on  many  later  lekythoi.  The  rather  careful 
maeander  with  its  including  lines  around  the  vase  is  broken  in  several 
instances  by  the  top  of  the  stele.1  Unimportant  as  the  fact  seems,  it 
sheds  light  on  the  manufacture  of  the  vase.  In  later  times  the  lekythoi 
were  made  in  large  quantities,  and  received  their  formal  decoration 
before  coming  to  the  painter  who  drew  the  persons  and  the  stele.  But 

1  On  no.  20  the  maeander  is  broken  ;  on  no.  2z  both  maeander  and  including  lines  are  broken  ;  on  no. 
28  the  including  lines  are  broken  ;  on  no.  26  the  lekythos  cuts  the  maeander,  which  is  not  broken. 


GROUP   C:    CLASS  V,   29  213 

whenever  the  maeander,  and  particularly  the  lines  enclosing  the  maean- 
der  (made  on  the  wheel),  were  broken  by  the  top  of  the  stele,  they  must 
have  been  drawn  later  than  the  stele  and  probably  by  the  same  hand 
which  drew  the  stele  and  the  figures  by  it.  In  other  words  the  differen- 
tiation of  labor  which  took  place  when  the  lekythoi  were  manufactured 
cheaply  in  large  quantities  was  not  yet  common.  The  more  careful 
lekythoi,  at  least,  were  probably  the  work  of  some  one  man  from  be- 
ginning to  end.  At  the  same  time  the  use  of  the  preliminary  sketch 
becomes  infrequent.  When  the  general  outline  of  the  scene  is  per- 
fectly familiar,  it  is  less  necessary.  In  the  use  of  color  also  a  change 
is  taking  place.  Along  with  the  brown  which  had  been  used  freely  on 
vases  of  Group  B  a  good  red  is  now  in  use,  and  blue  is  tried  on  nos. 
22  and  29;  while  the  red  is  found  quite  regularly  in  the  following 
series,  blue  is  rarely  seen. 

In  the  scene  itself  the  occurrence  of  the  tumulus  for  the  first  time  l 
should  be  noted.  It  appears  first  in  the  literal  form  as  represented 
on  earlier  ware,2  then  in  an  egg-shaped  variety,  resting  like  the  stele 
on  several  steps.  This  latter  form,  which  appears  on  later  lekythoi 
with  drawing  in  dull  color,  may  possibly  be  a  rude  attempt  at  perspec- 
tive as  Bosanquet  suggests ;  however  it  originates,  it  becomes  con- 
ventional and  is  drawn  in  place  of  the  stele  on  several  steps.  The  shaft 
of  the  stele  is  rather  slender  on  lekythoi  of  this  series  and  is  surmounted 
either  by  a  triangular  pediment  or  a  round  top  with  palmette.  The 
reserved  palmette  and  egg  moulding,  which  have  been  mentioned  as 
characteristic  of  this  series,  are  evidently  transferred  from  the  red- 
figured  technique;  the  use  of  the  checker-board  pattern  in  the  maeander 
is  to  be  explained  in  the  same  way. 

Accordingly,  when  one  turns  to  the  figures  themselves,  he  is  not 
surprised  to  find  types  which  definitely  belong  to  red-figured  ware  of 
this  period  (e.g.  the  left-hand  figure  on  nos.  22,  26,  and  28,  as  well  as 
the  second  figure  on  the  latter  vase)  along  with  types  found  mainly  on 
white  lekythoi.  On  no.  28,  for  example,  the  hair  of  the  woman  is  sup- 
ported by  a  broad  band  underneath,  as  is  often  the  case  on  red-figured 
ware,  while  on  nos.  20  and  21  the  mass  of  hair  at  the  back  of  the  head 
reminds  us  of  one  method  of  treatment  on  vases  of  Group  B.  Some 
features  of  the  profile,  particularly  the  full  lower  lip  (e.g.  on  the  youth 
at  the  right  on  no.  28),  suggest  a  date  earlier  than  would  be  assigned 
to  these  lekythoi  on  other  considerations. 

1  With  the  exception  of  Clan  A  III,  59,  p.  96. 

*  E.g.  *  black-figured  lekythot,  Naplet,  Inven.  111609;  Jour.  Htll.  Stud.  1899,  p.  119,  fig.  10. 


2i4  ATHENIAN  WHITE   LEKYTHOI 

The  most  interesting  feature  of  this  series  is  the  tendency  to  intro- 
duce new  elements  derived  from  the  painter's  own  observation.  In 
contrast  with  the  academic  figures  of  the  next  series  and  the  repetition 
of  a  few  types  on  lekythoi  of  later  groups,  there  is  a  certain  freshness 
and  reality  here,  due  to  this  literal  turn  of  the  painter.  The  woman 
wiping  her  eyes  with  her  garment  before  an  inscribed  stele  (no.  20), 
the  pensive  youth  sitting  on  the  steps  of  the  monument  and  the  woman 
setting  down  her  basket  before  the  stele  (nos.  21  and  22),  the  youth 
taking  a  taenia  from  the  basket  (no.  27),  the  literal  tumulus  and 
stele  (no.  28),  the  large  lekythos  taking  the  place  of  the  stele  (no.  26), 
are  such  elements  drawn  from  actual  scenes,  elements  which  add  to 
these  vases  a  touch  of  real  pathos. 


d.    "Academic"   series. 

The  finest  specimens  of  the  present  class,  and  some  of  the  most 
beautiful  lekythoi  in  our  museums,  belong  in  the  series  now  to  be  con- 
sidered. Such  delicacy  and  firmness  of  line  as  appear  in  these  draw- 
ings are  not  excelled  in  the  best  red-figured  work.  But  with  all  the 
care  lavished  on  the  drawing,  with  all  the  precision  and  devotion  of 
the.  artist,  the  figures  are  conventional  and  often  stiff.  The  scenes 
represented  are  few,  the  particular  figures  occur  again  and  again,  and 
there  seems  to  be  a  distinct  effort  to  avoid  anything  new  or  unfamiliar. 
Several  vases  with  the  phrase  "Hygiainon  kalos  "  have  served  as  the 
starting-point  for  determining  the  series.1  In  the  following  pages  I 
have  separated  from  what  Mr.  Bosanquet  calls  the  "Hygiainon  group" 
a  small  series  (series  e)  which,  though  they  are  closely  allied  to  the 
Hygiainon  vases,  present  certain  clearly  marked  peculiarities,  such  as 
the  stiff  slender  figures  and  small  heads  of  the  persons  represented; 
while  in  this  series  I  have  for  convenience  included  two  slightly  vary- 
ing types,  vases  on  which  the  drawing  is  in  fairly  broad  lines  of  thin 
yellow  and  without  much  solid  color,  and  vases  with  fine  lines  and 
more  general  use  of  color.  My  reason  for  separating  series  e  and  leav- 
ing the  other  two  types  together  is  a  purely  practical  one;  in  the  former 
case  it  seemed  a  comparatively  easy  task,  in  the  latter  very  difficult. 
In  general  the  vases  of  this  series  have  a  fine  white  slip,  often  almost 
shiny;  the  three  palmettes  on  the  shoulder  approach  the  type  which 
later  became  typical;2  the  maeander  is  ordinarily  in  reversing  series, 

1  Jour.  Hell.  Stud.  1899,  p.  179  f.  2  Ibid.  p.  179,  fig.  5. 


GROUP   C:    CLASS   V,   32-33  215 

separated  by  dotted  oblique  crosses.  The  household  scenes,  including 
a  few  which  may  be  interpreted  as  preparation  to  visit  the  grave, 
predominate;  the  last  seven  or  eight  in  the  series  are  scenes  at  the 
grave. 

32.  Acerra,  Spinelli  Collection.     From  Suessula  (Campania).     Bul- 
let. 1879,  p.  148  f.;    Rom.  Mttth.  1887,  S.  262,  Taf.  xii,  5;  Jour.  Hell. 
Stud.  1896,  p.  1 66,  12;    1899,  P-  *8o;    Klein,  Lieblingsinschriften,   S. 
1 66,  6. 

On  the  shoulder,  egg-pattern  and  palmettes;  maeander  reversing,  broken  by  dotted 
oblique  crosses.  The  chair  is  in  dull  pink,  and  the  himation  of  the  seated  woman  is 
bright  red. 

At  the  left  sits  a  woman  in  profile,  her  head  bowed,  holding  some  object  (no  doubt 
it  is  a  wreath  which  has  disappeared)  in  both  hands.  She  wears  a  sleeve  chiton,  and  a 
himation  is  wrapped  about  her  knees. 

From  the  right  a  woman  approaches,  holding  out  both  hands  as  if  carrying  a  taenia. 
She  wears  a  sleeve  chiton,  girded  over  a  long  overfold.  In  both  cases  the  hair  is  bound 
at  the  back  of  the  head  in  a  flat  knot,  and  left  loose  about  the  forehead. 

In  the  field  at  the  left  hang  mirror  and  oinochoe,  at  the  right  a  sakkos.  Between 
them  is  the  three-line  inscription  AZIOTTEI^j  KAAO^  AAKIMAXou. 

33.  Oxford,   Ashm.    Gard.    266.     Gela.     H.   0.35    m.      Catalogue, 
pi.  xx ;    Jour.  Hell.  Stud.   1899,  p.   1801;    Klein,  Lieblingsinschriften, 
S.  162,  Fig.  42. 

On  the  shoulder  palmettes  in  red  and  dull  black  (?)  almost  effaced;  maeander  re- 
versing, broken  by  dotted  oblique  crosses.  The  chair  and  the  body  of  the  cithara  are 
in  dull  pink;  traces  of  red  (?)  for  the  himation  of  the  seated  figure. 

On  a  chair  at  the  left  sits  a  woman  in  profile,  her  head  bowed,  playing  on  a  cithara 
with  round  base  with  her  left  hand  while  her  right  hand  holds  the  plectron.  She  wears 
a  sleeve  chiton  and  a  himation  is  wrapped  about  her  knees. 

At  the  right  another  woman  stands  in  profile,  carrying  a  lyre  in  her  right  hand  and 
extending  her  left  hand  from  the  elbow.  She  wears  a  sleeve  chiton  girded  over  a  long 
overfold.  In  both  cases  the  hair  is  in  a  rounded  knot  at  the  back  of  the  head  and  loose 
around  the  forehead  (that  of  the  right-hand  figure  is  restored),  and  both  women  wear 
ear-rings. 

In  the  field  at  the  left  hang  sakkos  and  mirror,  at  the  right  an  oinochoe.  Between 
the  women  is  the  three-line  inscription  AAK I Mj/AH$  KAA03  AI3  +  YAIAO. 

The  three-line  inscription  with  the  name  of  the  father  occurs  on 
only  a  small  number  of  vases,  the  two  under  discussion,  several  in  the 
preceding  class  (B  IV,  3),  and  a  few  red-figured  vases.1  Of  the  four 
names  on  these  two  vases  Alkimachos  and  Axiopeithes  are  found  else- 
where on  vases;2  Klein  mentions  six  red-figured  vases  (of  the  "early 

1  Cp.  Arch.  An*.   1890,  S.   II  ;   Jour.  Hell.  Stud.   1896,  p.   165. 

2  Klein,  Litblingumcbriften,  S.  l6a,  165-167;  Cp.  tufra,  p.  147. 


216  ATHENIAN  WHITE   LEKYTHOI 

fine"  period)  with  Alkimachos,  on  three  of  which  the  omicron  is  given 
in  the  form  of  omega  as  in  the  Thasian  or  Parian  alphabet.  This  type 
of  inscription  is  the  first  of  several  indications  that  this  series  of 
Class  V  was  contemporaneous  with  the  later  vases  of  Class  IV. 

Perhaps  the  closest  parallel  to  the  two  vases  among  the  lekythoi 
already  considered  is  the  "Dromippos  "  vase  in  Berlin.1  The  objects 
hanging  on  the  walls  mark  the  interior  of  a  home;  the  seated  woman 
with  mantle  about  her  knees  and  the  attendant  before  her  with  one 
or  both  hands  extended  are  types  long  familiar  to  painters  of  these 
lekythoi;  the  wreath,  also,  which  we  may  supply  in  the  hands  of  the 
seated  figure  on  no.  32,  is  part  of  this  seated  type.  On  the  other  hand, 
the  treatment  of  the  hair  on  the  Dromippos  vase  is  not  what  wTould  be 
expected  in  Class  IV,  and  the  "crinkly"  edges  of  the  chiton  of  the  stand- 
ing figure  can  be  matched  only  on  vases  of  the  present  series  in  Class  V- 
But  while  the  three  vases  are  alike  in  all  these  points,  the  difference  in 
the  spirit  of  the  composition  is  very  marked.  The  presence  of  the  child 
on  the  Dromippos  vase  indicates  a  rather  bold  realism  within  the  lines 
of  the  old  types;  the  Axiopeithes  vase  simply  repeats  the  old  types 
(with  the  possible  exception  of  the  gesture  of  the  standing  woman), 
and  the  Alkimedes  vase  combines  a  red-figured  type  of  musicians  2 
with  the  familiar  lekythos  figures.  It  is  the  Axiopeithes  vase  which 
both  in  its  stereotyped  figures  and  its  exquisite  drawing  best  exemplifies 
the  ideals  of  the  present  series. 

The  Oxford  vase,  no.  33,  is  interpreted  by  Mr.  Gardner  as  depicting 
a  music  lesson.  So  far  as  the  presence  of  the  musical  instruments  is 
concerned,  and  the  manner  in  which  the  cithara  is  played,  this  scene 
repeats  the  music  lesson  type.3  Yet  it  should  not  be  forgotten  that 
this  vase  shows  no  music  lesson;  it  is  the  familiar  domestic  scene  of 
seated  and  standing  women  with  musical  instruments  introduced  al- 
most as  attributes;  certainly  all  that  would  point  to  a  lesson  is  omitted. 
The  presence  of  the  round  cithara  and  the  lyre  in  the  same  scene  is 
unusual  and  may  be  due  to  the  fact  that  both  are  hardly  more  than 
attributes.4 

34.  London,  Brit.  Mus.  D  53.  Athens.  H.  iijin.  White  A th. 
Vases,  pi.  iv;  Jour.  Hell.  Stud.  1899,  p.  180. 

1  B  IV,  3,  no.  7,  Berlin,  Furtw.  2443. 

2  Vienna,  Sacken-Kenner,  196  (76). 

8  E.g.  Berlin,  Furtw.  2285  (kylix  of  Douris)  ;  the  cithara  and  lyre  are  played  with  the  left  hand  and  by 
a  plectron  in  the  right  hand. 

*  Lyres  are  played  and  a  round  cithara  hangs  on  the  wall  in  the  Linos  vase,  Annali,  1871,  Tav.  F;  cp. 
also  Brit.  Mus.  £271. 


GROUP  C:    CLASS  V,   34-36  217 

On  the  shoulder  egg-pattern  and  palmettes  with  alternate  leaves  red;  maeander 
broken  by  dotted  oblique  crosses,  not  reversing.  Drawn  in  fine  lines  of  brown  glaze;  the 
hair  is  filled  nearly  solid  with  black  strokes  on  a  yellow  glaze  surface.  Dull  pink  with 
brown  markings  is  used  for  the  chair,  dull  black  for  the  wreath,  and  bright  red  for  the 
himation  of  the  seated  woman  and  for  the  sakkoi. 

On  a  chair  at  the  left  sits  a  woman  in  profile  holding  up  the  ends  of  a  wreath  as  if 
to  fasten  them  together.  She  wears  a  chiton  and  red  himation. 

Before  her  stands  a  woman  (body  but  not  feet  en  fact)  looking  down  at  her  and 
offering  her  a  cord  with  her  right  hand.  She  wears  a  chiton  girded  over  a  long  overfold. 
The  hair  of  both  women  is  rolled  in  a  flat  knot  at  the  back  of  the  head  and  laid  in  curls 
along  the  forehead. 

In  the  field  on  each  side  hangs  a  sakkos,  and  above  the  seated  woman  is  an  oinochoe. 

The  purity  of  the  profiles  of  these  women  is  hardly  excelled  on  the 
"Hygiainon"  vases,  and  the  drawing  may  well  be  from  the  same  hand. 
The  crinkly  edges  of  the  garments  noted  on  no.  32  are  not  found  either 
on  this  vase  or  on  the  Hygiainon  vases;  the  eyes  also  are  very  simply 
drawn. 

35.  Worcester  Art  Museum  (U.S.A.).     H.   about  0.35  m.     Plate 
IX,  i. 

On  the  shoulder  egg-pattern  and  typical  palmettes;  maeander  reversing,  broken 
by  dotted  oblique  crosses.  Drawn  in  fine  lines  of  brown  glaze;  the  sketch  lines  of  the 
body  and  garment  in  much  thinner  glaze  show  through  the  applied  color  of  the  garment. 
Purple  is  used  for  the  ribbon  on  the  hair;  the  taeniae  on  the  basket  are  painted  in  thick 
white  with  added  glaze  details. 

At  the  left  a  woman  in  profile  stands  with  bowed  head  holding  out  in  both  hands  a 
large  basket  containing  taeniae.  She  is  dressed  in  a  sleeveless  chiton  girded  over  a  long 
overfold;  her  hair  is  held  in  a  loose  knot  by  a  cord  wound  around  it  several  times,  so  as 
to  fall  over  the  forehead  and  in  front  of  the  ear. 

Facing  her  stands  a  woman  holding  in  her  right  hand  a  toilet  vase. 

In  the  field  at  the  left  is  a  small  oinochoe.  Between  the  figures  is  the  inscription 
HYflAINON  KAAOS. 

36.  London,  Brit.  Mus.  D  48.     Athens.     H.  14^  in.     White  Atb. 
Vases,  pi.  ii;  Jour.  Hell.  Stud.  1896,  p.  157  f.,and  1899,  p.  180;   Klein, 
Lieblingsmschriften,  S.   167. 

On  the  shoulder  egg-pattern  and  typical  palmettes;  maeander  broken  by  horizontal 
reserved  crosses,  not  reversing.  Drawn  in  fine  lines  of  brown  glaze,  which  was  used 
for  the  first  sketch  of  the  body  as  well  as  for  the  parts  which  were  not  to  be  covered  with 
color;  the  lines  of  the  himation,  however,  were  drawn  in  an  almost  transparent  glaze  to 
which  the  color  does  not  adhere.  The  himation  and  sakkoi  are  bright  red.  The  body 
of  the  vase  is  separated  into  two  parts  by  a  horizontal  partition;  the  lower  portion  has 
a  hole  in  the  side  of  the  vase  about  three  centimetres  from  the  bottom. 

At  the  left  stands  a  woman  in  profile,  holding  out  in  her  arms  a  rolled-up  mantle 
which  she  is  giving  to  her  attendant.  She  wears  a  sleeve  chiton  with  long  overfold  un- 


2i8  ATHENIAN  WHITE   LEKYTHOI 

girded;  her  hair  is  held  in  a  mass  at  the  back  of  the  head  by  means  of  a  purple  band, 
and  a  large  curly  lock  is  left  loose  in  front  of  the  ear. 

Before  her  stands  in  profile  a  girlish  figure  with  short  curly  hair,  who  holds  out  both 
hands  to  receive  the  mantle.  She  wears  a  sleeve  chiton  (once  light  red)  girded  over  a 
long  overfold. 

Above  the  girl  hangs  a  small  oinochoe,  and  on  either  side  of  the  scene  a  sakkos  with 
strings  ending  in  a  trefoil.  In  the  centre  is  the  inscription  HYTIAINON  KAA05. 

37.  London,  Brit.  Mus.  D  49.     Fragment  i  J  by  ^\  in. 

The  maeander  is  broken  by  checker-board  squares.  Drawn  in  fine  lines  of  brown 
glaze. 

The  head,  shoulders,  and  right  hand  of  a  woman  facing  toward  the  right  are  pre- 
served; apparently  she  is  taking  something  with  her  right  hand  from  a  basket  on  her  left 
hand.  She  wears  chiton  and  himation,  and  her  hair  is  held  at  the  back  of  her  head  by 
a  white  band. 

Before  the  figure  is  the  inscription    HYPIAINON    KAAO^. 

38.  Madrid,  Mus.   Arqu.    11189.       Klein,   Lieblingsinscbriften,  S. 

168,  3.  Cf.  Arch.  Zeit.  1874,  p.  53,  2;  Melida,  Vasos  griegos  del  mus. 
arqu.  nac.  p.  45.  Plate  VIII,  2. 

On  the  shoulder  egg-pattern  and  typical  palmettes;  maeander  partly  reversing, 
broken  by  dotted  oblique  crosses.  Drawn  in  fine  lines  of  brown  glaze,  which  is  used  also 
for  the  lines  of  the  body  to  be  covered  with  dull  color.  Dark  red  and  light  red  (nearly 
faded)  are  used  for  garments;  purple  is  used  for  the  taenia  on  the  hair. 

At  the  left  stands  a  woman  in  profile  looking  down  at  an  outline  taenia  which  she 
is  holding  in  both  hands.  She  wears  a  dark  red  sleeveless  chiton  girded  over  a  long 
overfold;  a  broad  taenia  holds  the  hair  at  the  back  of  her  head,  allowing  it  to  fall  over  the 
ear  and  on  the  forehead.  Apparently  the  hair  is  painted  in  broad  strokes  of  black  on  a 
yellowish  ground. 

Before  her  stands  a  woman  in  profile,  holding  up  a  toilet  vase  on  her  right  hand. 
She  wears  a  light  red  open  chiton  (sleeveless)  with  overfold  ungirded;  her  hair  is  entirely 
covered  with  a  cloth  except  for  a  small  lock  in  front  of  her  ear. 

At  the  left  hangs  a  sakkos  with  trefoil  strings,  at  the  right  a  small  oinochoe,  and 
between  the  figures  is  the  inscription  HyflAINON  KAAO^. 

39.  Haverford,  Penn.  U.S.A.     Collection  of  Mr.  Alden  Sampson.1 
With  these  Hygiainon  vases  belongs  one  from  Class  IV  2  on  which 

the  same  name  appears  and  which  is  probably  from  the  same  hand. 
Numbers  35-38  have  various  points  of  contact  with  Class  IV,  such  as 
the  peculiarities  of  the  maeander  on  nos.  36  and  37,  the  basket  of  fil- 
lets painted  in  thick  white  on  no.  35,3  and  the  sleeveless  chiton  worn  by 

1  I  have  been  unable  to  secure  any  description  of  this  lekythos  beyond  the  fact  that  it  has  the  "  Hygiai- 
non kalos"  inscription. 

2  Pans,  Louvre  LEC,  Class  IV,  3,  no.  1 6. 

8  Cp.  Class  IV,  2,  no.  14,  Athens,  1929  ;  Class  IV,  3,  no.  13,  Brit.  Mus.  D  50. 


GROUP   C:    CLASS   V,   37-39  219 

most  of  the  women.'  The  delicate  oinochoe  in  the  field  which  occurs 
on  all  the  complete  Hygiainon  lekythoi  (and  no  nos.  32,  33,  43,  44  of 
the  present  series  as  well  as  on  no.  6  of  Class  IV,  3,  Berlin,  2443)  may 
almost  be  regarded  as  the  remarque  of  this  artist. 

Several  points  in  the  drawing  deserve  notice.  The  relaxed  front 
leg,  breaking  the  fall  of  the  front  edge  of  the  garment,  hardly  occurs 
on  lekythoi  with  drawing  in  glaze  outline  except  on  no.  33  (Oxford,  266), 
no.  43  (Vienna,  1087),  and  on  these  Hygiainon  vases.  The  lower  part 
of  the  back  is  curved  in  deeply  as  on  some  earlier  lekythoi;  here  it 
makes  the  body  unduly  thin  from  front  to  back.2  The  curve  of  the 
shoulder  is  so  drawn  as  to  make  it  appear  that  the  shoulder  itself  is 
bent  well  forward.3  The  delicate  hands  with  bent  fingers  are  found 
on  all  the  present  series,  but  on  many  of  the  others  the  hands  are 
larger  than  on  these  Hygiainon  lekythoi.  The  features  of  the  face  also 
are  small  and  delicately  but  simply  drawn.  In  the  treatment  of  the 
hair  the  artist  has  allowed  himself  some  variety;  the  use  of  the  ribbon 
wound  several  times  around  the  head  occurs  on  no.  35  for  perhaps  the 
last  time  on  extant  lekythoi. 

On  all  these  vases,  it  is  the  lady  who  stands  at  the  left  with  head 
modestly  bowed,  and  her  servant  at  the  right.  The  Worcester  vase 
and  probably  the  Madrid  vase  give  the  "  preparation  to  go  to  the  grave," 
a  type  already  discussed  under  Class  IV.  The  London  vase  (no.  36) 
depicts  a  woman  who  has  just  come  in,  and  the  rolled-up  mantle  which 
she  is  handing  to  her  servant  replaces  the  basket  and  the  taenia  of 
the  other  specimens.  On  a  red-figured  kalpis  in  St.  Petersburg  4  is 
a  scene  of  feminine  life  at  home  in  which  one  woman  is  carrying  a 
rolled-up  garment.  The  analogy  of  other  motifs  in  the  present  series 
would  suggest  that  this  motif  also  was  selected  by  the  lekythos  painter 
from  some  more  extended  scene  on  red-figured  ware;  the  following 
numbers  prove  that  for  the  moment  it  was  very  popular. 

40.  Bonn,  University  Museum.  Banner  Studien,  .1890,  S.  156  f., 
Taf.  xi;  Jour.  Hell.  Stud.  1899,  p.  180. 

Maeander  reversing,  broken  by  dotted  oblique  crosses;  below  the  scene  is  a  simple 
maeander.  Drawn  in  fine  lines  of  brown  glaze;  light  red  was  used  for  the  mantle,  the 

1  Cp.  Class  IV,  2,  no.  11,  Coll.  von  Branteghem,  51;  no.  n,  Berlin,  Inren.  317$;  and  Qa» 
IV,  3,  no.  12,  Brit.  Mus.  D  50. 

8  Class  IV,  2,  no.  12,  Coll.  von  Branteghem,  51. 

*  Cp.  no.  43,  Vienna,  1087.     This  peculiarity  is  seen  in  lest  degree  on  later  lekythoi  of  the  pi  went 
scries,  e.g.  on  no.  54,  Athens,  1960. 

*  St.  Petersburg,  Ermitage,  Steph.  1931  ;  the  drawing  indicates  a  rase  slightly  earlier  than  the  Hygiainon 
lekythoi.      Cp.  also  Brit.  Mus.  E  202  (Cat.  y<u.  pi.  viii,  i )  and  E  107  (pi.  riii,  2)  on  whkh  a  nude  woman 
carries  a  rolled-up  garment. 


220  ATHENIAN  WHITE   LEKYTHOI 

chiton  of  the  right-hand  figure,  and  the  sakkos  in  the  field;  the  chiton  of  the  figure  at  the 
left  was  a  brownish  red. 

At  the  right  a  woman  stands  in  profile,  putting  on  a  girdle  through  which  the  upper 
part  of  her  sleeve  chiton  is  drawn  loose.  Behind  her  and  partly  concealed  is  a  stool. 

Facing  her  a  shorter  woman  (servant  ?)  stands  nearly  in  profile,  with  bowed  head, 
holding  a  rolled-up  mantle  which  her  mistress  is  apparently  about  to  put  on.  She  wears 
a  sleeveless  chiton  girded  over  a  long  overfold.  On  both  figures  the  hair  is  drawn  loosely 
back  and  held  in  a  small  flat  knot  at  the  back  of  the  head. 

In  the  field  at  the  left  hang  a  mirror  and  a  sakkos. 

Apparently  the  painter  of  this  lekythos  made  an  effort  to  vary  a 
scene  which  had  struck  the  popular  fancy,  by  giving  the  preparation 
to  go  out  instead  of  the  return  home.  The  woman  putting  on  her  girdle 
is  found,  though  rarely,  on  red-figured  ware;  the  closest  analogy  to 
our  lekythos  is  a  pelike  in  the  British  Museum,1  where  we  see  the  mantle 
lying  on  a  chair,  the  servant  holding  out  an  alabastron,  and  the  woman 
putting  on  her  girdle.  There  is  no  very  close  resemblance  between 
the  drawing  on  this  lekythos  and  on  those  with  the  name  Hygiainon, 
although  the  visible  hand  is  very  gracefully  done.  The  following  num- 
ber (known  to  me  only  through  the  publication)  represents  another 
variation  of  the  scene  of  dressing,  and  that  again  along  the  same  lines 
as  the  British  Museum  pelike. 

41.  Collection  Eugene  Plot,  144.     H.  0.306  m. 

On  the  shoulder  three  black  palmettes;  maeander  reversing,  broken  by  dotted  oblique 
crosses.  Drawn  in  black  glaze  with  added  red  for  folded  garment. 

At  the  left  stands  a  woman  holding  out  a  red  chiton  folded  up;  she  wears  a  chiton. 
Behind  her  is  a  stool  and  on  the  wall  hang  a  mirror  and  a  taenia  (sakkos  ?). 

Facing  her  stands  a  woman  in  similar  garment,  holding  out  an  alabastron. 

42.  Dresden,  Albertinum.     Fragment  about  .08  m.  high. 

The  maeander  is  broken  by  horizontal  crosses.  Drawing  in  rather  broad  lines  of 
thin  yellow  glaze  on  a  smooth  white  slip.  No  color  remains. 

A  woman  stands  in  profile  facing  toward  the  right  and  holding  out  a  garment  (rolled 
up)  in  both  hands.  She  wears  a  sleeve  chiton  with  large  fold  hanging  from  the  girdle; 
her  hair  is  in  a  large  knot  at  the  Lack  of  the  head.  Before  her  hangs  a  cithara  in  the 
field  (or  is  it  in  the  hands  of  the  figure  at  the  right,  now  missing  ?). 

This  fragment  is  included  here  for  the  sake  of  comparison  with  the 
series  of  lekythoi  on  which  the  same  scene  occurs.  The  technique  re- 
sembles that  of  no.  48  (Vienna,  Hofmus.  1873)  more  nearly  than  the 

1  Brit.  Mus.  E  376,  a  woman  girding  herself  beside  a  chair  on  which  lies  a  mantle  ;  before  her  a  crane  ( ?) 
and  a  girl  holding  a  toilet  vase  and  alabastron.  Cp.  the  vase  figured  by  Tischbein,  I,  pi.  x,  Ga-z.  Arch.  V, 
23  (  =  Baumeister,  I,  fig.  668)  ;  Stackelberg,  Graber,T*f.  xxxiii ;  Klein,  Licblingsinschriften,  S.  152,  fig.  38  ; 
Harrison-Maccoll,  Fate  Paintings,  pi.  xiii,  Brit.  Mus.  E  44. 


GROUP   C:    CLASS   V,   41-43 


221 


others  of  the  present  series;   perhaps  the  fragment  should  rather  be 
classified  in  series  a  along  with  no.  10  (Munich,  not  catalogued). 

43.  Vienna,  Oester.  Mus.  1087  (10006).  Attica.  H.  about  0.35  m. 
Festschrift  fur  Otto  Benndorf,  S.  89  (Weisshaupl).  (Fig.  47.) 

On  the  shoulder  egg-pattern  and  palmettes;  a  red  leaf  is  inserted  between  the  second 
and  third  black  leaves  of  each  palmette.  Maeander  broken  by  dotted  oblique  crosses, 
not  reversing.  Drawn  in  fine  lines  of  glaze  which  is  dark  brown  for  the  outlines,  and  very 


FIG.  47  (no.  43). 

thin  where  it  is  to  be  covered  by  dull  color  (in  the  figure  at  the  left).  Vermilion  and  dark 
red  with  added  black  lines  for  garments.  The  hair  is  put  on  in  rough  strokes  of  a  rather 
fine  pencil.  Air-hole  in  the  lower  part  of  the  vase,  and  an  alabastron  suspended  from  the 
neck  inside  to  hold  the  perfume. 

In  front  of  a  diphros  at  the  left  a  woman  stands  in  profile,  holding  out  in  both  hands 
a  vermilion  mantle  rolled  up.  She  wears  a  sleeve  chiton  with  loose  overfold  reaching 
nearly  to  the  knees.  Her  hair  is  all  covered  with  a  vermilion  cloth  which  is  held  in  place 
by  a  white  taenia. 

Facing  her  is  a  smaller  woman  (attendant)  who  holds  out  her  hands  to  receivt  tin- 
mantle.  She  wears  a  dark  red  sleeveless  chiton,  loose  over  a  girdle;  her  hair  falls  in 
thick  curls  all  about  her  head. 


222  ATHENIAN  WHITE   LEKYTHOI 

At  the  left  in  the  field  hangs  the  delicate  oinochoe  of  the  "Hygiainon"  lekythoi,  at 
the  right  a  barred  sakkos  with  quatrefoil  strings. 

The  figure  of  the  maid  at  the  right  very  closely  resembles  that  of 
the  corresponding  figure  on  the  Hygiainon  vase  in  London  (no.  36); 
both  the  figure  and  the  profile  of  the  lady  are,  however,  different  enough 
so  that  it  would  be  rash  to  claim  that  the  two  lekythoi  were  drawn 
by  the  same  hand.  Among  the  vases  found  in  the  same  grave  with 
this  one  is  a  lekythos  very  similar  in  technique  which  Weisshaupl 
regards  as  from  the  same  hand;  the  faces  of  the  women  at  the  left  are 
sufficiently  unlike  to  make  this  position  doubtful,  though  the  two 
lekythoi  may  have  been  made  together.  To  say  with  the  same  writer 
"Die  Frau  iibergibt  der  Dienerin  den  Mantel,  dass  sie  ihn  zum  Grabe 
trage  "  *  seems  to  me  a  false  interpretation.  The  fact  that  the  present 
vase  was  found  with  others  on  which  a  grave  scene  is  represented, 
hardly  deserves  any  weight.  The  comparison  with  other  lekythoi  of 
the  present  series  (only  two  of  which  are  cited  by  Weisshaupl)  suggests 
that  we  are  dealing  with  a  purely  domestic  scene;  the  woman  has  come 
in  and  is  giving  her  mantle  to  her  maid.  And  the  lekythoi  with  draw- 
ing in  dull  color  on  which  a  garment  is  brought  to  a  stele  are  all  probably 
later  than  this  series ;  they  should  be  explained  in  the  light  of  these 
lekythoi,  not  the  reverse.2 

44.  Berlin,  Inven.  3970.  H.  0.317  m.  Jahr.  Arch.  Inst.  1898, 
Arch.  Anz.  S.  192,  no.  9. 

Egg-pattern  and  palmettes  on  the  shoulder;  maeander  broken  by  dotted  oblique 
crosses,  not  reversing.  Drawn  in  fine  lines  of  yellowish  brown  glaze;  as  applied  under 
the  solid  color  this  glaze  is  almost  transparent.  The  himation  of  the  youth  is  bright  red 
with  black  fold  lines,  and  the  chair  is  dull  pink.  The  hair  is  in  black  lines  on  a  yellow 
surface. 

At  the  left  sits  a  woman  in  profile  holding  out  a  toilet  vase  on  both  hands.  She  wears 
a  sleeve  chiton  and  about  her  knees  is  a  mantle  (both  without  color).  At  the  right  stands 
a  youth  en  face,  about  to  take  the  top  from  the  toilet  vase  with  his  right  hand.  A  large 
himation  covers  his  left  arm  and  hand,  and  a  petasos  hangs  from  his  shoulder. 

In  the  field  at  the  left  hang  a  sakkos  with  trefoil  ends  and  a  mirror,  at  the  right  a 
delicate  oinochoe;  between  the  two  is  the  inscription  AI^IAos  KAAOs. 

The  striking  similarity  between  the  mistress  on  the  previous  vase 
(no.  43)  and  the  woman  here  may  indicate  that  both  are  from  the  same 
hand.  Like  the  other  vases  of  this  series  thus  far  considered  (no.  35 

1  Festschrift  fur  0.  Bcnndorf,  S.  90. 

2  Athens,  Nat.  Mus.  1896  (Weisshaupl,  6)  ;    Athens,  Nat.  Mus.  1799  (W.  4)  ;    Louvre,  MNB424 
(W.  5);    Brit.  Mus.  D  91.     Cp.  C  VI,  a,  no.  14,  Athens. 


GROUP   C:    CLASS   V,   44-65 


223 


excepted),  the  scene  is  purely  a  domestic  one,  with  no  reference  to 
the  grave.  The  little  oinochoe  hangs  in  the  field  on  this  vase  as  on 
many  of  the  preceding;  on  all  the  vases  with  this  mark  the  drawing 
is  similar  enough  to  raise  the  question  whether  they  come  from  the 
same  hand.  Clearly  the  Hygiainon  vases  would  seem  to  be  the  work 
of  the  same  man;  nos.  43  and  44  bear  a  close  relation  to  each  other; 
there  does  not  seem  to  me  to  be  sufficient  similarity  between  this  pair, 
the  pair  nos.  32  and  33,  and  the 
Hygiainon  lekythoi  to  prove  that 
they  are  from  the  same  hand. 
There  is  nothing  to  prove  that  this 
Diphilos  is  the  same  man  as 
Diphilos  the  son  of  Melanopos, 
whose  name  occurs  on  a  set  of 
closely  related  vases  in  Class  IV 
(nos.  8-1 1);  yet  the  presumption 
is  in  favor  of  this  belief,  for  the 
two  classes  overlap  and  this  Diph- 
ilos vase  might  be  almost  con- 
temporaneous with  the  others. 

45.  Bologna,  Mus.  Civ.  Pell. 
362.  Athens.  H.  0.35  m.  Cata- 
logue,Tav.  ii;  Heydemann,  Dritte 
hall.  Winck.  progr.  S.  57,  n.  1398. 
(Fig.  48.) 

On  the  shoulder  egg-pattern  and  typi- 
cal palmettes;  maeander  reversing,  broken 
by  dotted  oblique  crosses.  Preliminary 
sketch  of  body  and  garments  in  very  thin 
glaze.  Drawn  in  brown  glaze;  red  is 
used  for  the  himation. 

At  the  left  stands  a  woman  in  profile, 
playing  a  round  cithara  (four  strings)  with 
her  left  hand;  her  right  hand  hangs  at 
her  side.  She  wears  a  chiton  (which  has  nearly  disappeared)  girded  over  a  long 
overfold;  her  hair  is  in  a  flat  knot  at  the  back  of  her  head,  and  falls  loose  over  the 
ear. 

Opposite  her  stands  a  woman  en  face,  extending  her  right  hand,  palm  up.  She  wears  a 
sleeve  chiton  and  a  himation  covering  her  left  hand;  her  hair  is  held  up  by  a  broad  band 
about  her  head  and  falls  over  the  ear  in  yellow  curls. 

Between  the  two  stands  a  duck  ( ?);  at  the  left  hangs  a  mirror,  at  the  right  a  slender 
pitcher. 


FIG.  48  (no.  45). 


224  ATHENIAN  WHITE   LEKYTHOI 

46.  London,  Brit.  Mus.  D  51.  Cyprus.  H.  15^  in.  White  Ath. 
Vases,  pi.  iii;  Jour.  Hell.  Stud.  XII,  315  f.,  pi.  xiv;  XIX,  180. 

On  the  shoulder  egg-pattern  and  typical  palmettes;  maeander  reversing,  broken  by 
dotted  oblique  crosses.  The  slip  is  of  the  finest  white  composition  and  very  smooth. 
Drawn  in  glaze  varying  from  yellow  to  brown;  the  hair  is  stippled  in  black  on  a  surface 
of  yellow  glaze.  Red  appears  on  the  sakkos  and  the  helmet. 

At  the  left  a  woman  stands  in  profile,  holding  out  a  helmet  (without  crest)  in  her 
right  hand  and  grasping  her  garment  skirt  with  her  left  hand.  She  wears  a  sleeve  chiton 
with  long  overfold  (once  red  ?);  her  hair  is  covered  with  a  cloth  except  for  a  large  lock 
in  front  of  her  ear. 

Opposite  her  is  a  bearded  man  en  face,  holding  out  his  right  hand  for  the  helmet;  in 
his  left  hand  is  a  spear  erect  and  his  sword  hangs  at  his  side.  He  wears  no  garment. 

Behind  the  woman  and  partly  hidden  is  a  diphros;  above  it  hangs  a  slender  pitcher 
in  outline.  Between  the  two  a  goose  is  pecking  the  ground.  • 

The  likeness  of  these  two  vases,  one  of  which  comes  from  Athens, 
the  second  from  Cyprus,  is  very  striking.  Not  only  are  the  attitudes 
and  the  general  style  of  drawing  the  same;  the  little  hand  of  the  warrior 
is  almost  identical  with  the  hand  of  the  draped  woman  on  the  other 
vase,  the  large  loose  lock  in  front  of  the  ear  of  the  woman  appears  on 
both  vases,  on  both  occur  the  odd-shaped  slender  pitcher  on  the  wall 
and  the  bird  between  the  figures  on  the  ground.  Yet  with  all  the  like- 
ness in  detail  the  general  spirit  of  the  two  scenes  is  very  different. 

On  the  Cyprus  vase  the  scene  is  consistent  and  its  meaning  is  not 
forgotten.  The  same  scene  occurs  on  a  lekythos  from  Gela  already 
described,1  but  what  is  roughly  suggested  there  is  here  worked  out 
simply  and  consistently.  We  are  in  the  woman's  apartment;  a  pitcher 
hangs  on  the  wall,  her  seat  is  behind  her,  her  pet  goose  is  contentedly 
feeding.  And  the  woman  herself  grasps  her  skirt  with  familiar  gesture 
as  she  hands  her  husband  his  helmet.  One  can  almost  read  a  look  of 
sadness  into  their  faces  as  he  extends  his  hand  for  the  helmet  in  his 
preparation  to  depart.  The  figures  are  drawn  with  the  same  care  and 
simple  vigor  as  the  faces;  it  is  only  in  the  hands  that  the  artist  has 
sought  to  show  his  special  skill.  The  pet  bird  occurs  commonly  enough 
in  scenes  of  feminine  life,  but  I  do  not  recall  this  realistic  attitude  and 
the  ruffled  feathers  of  the  bent  neck  on  any  other  vase. 

On  the  contrary,  the  Bologna  vase  represents  two  women  at  home 
without  suggesting  any  particular  meaning  in  the  scene.  The  woman 
at  the  right  extends  her  hand,  not  to  take  anything,  but  because  this 
is  a  gesture  familiar  to  the  artist;  her  companion  touches  the  strings 
of  her  cithara  indolently  with  her  left  hand,  and  her  right  hand  no 

1  B  IV,  2,  no.  23,  Oxford,  Ashm.  268. 


GROUP   C:    CLASS   V,   46-48  225 

longer  holds  the  plectron  as  is  customary  for  a  player.  The  cithara 
and  the  left  hand  are  in  the  usual  position,  but  the  hand  is  very  awk- 
wardly drawn,  perhaps  because  this  artist  is  not  accustomed  to  making 
the  hand  in  this  position.  In  the  treatment  of  the  player  the  contrast 
with  the  cithara  player  on  no.  33  of  the  present  series  is  noticeable. 
But  perhaps  this  vase  confirms  the  belief  that  no.  33  does  not  represent 
a  music  lesson.  Music  scenes  on  vases  of  this  period  may  be  classified 
under  three  heads:  (a)  the  music  lesson,1  (£)  women  playing  at  home,2 
and  (c)  Apollo  and  the  Muses.3  These  lekythos  scenes  belong  to  the 
second  type;  and  when  we  find  a  person  playing  at  the  grave,  it  is  to 
be  understood  as  an  example  of  the  common  practice  of  transferring 
domestic  scenes  to  the  grave  and  to  grave  monuments. 

47.  Collection  W.  Paton.     Attica.     H.  0.305  m.      Burlington  Ex- 
hibition Catalogue,  p.  54,  no.  121. 

On  the  shoulder  egg-pattern  and  three  palmettes.  Drawn  in  black  glaze.  Red 
is  used  for  the  himation. 

A  woman  in  a  red  himation,  which  leaves  her  breast  and  right  arm  bare,  gives  her 
hand  to  a  nude  youth.  Behind  her  hangs  a  sakkos. 

Comparison  with  other  lekythoi  in  this  series  explains  the  apparent 
absence  of  the  woman's  chiton;  as  on  nos.  50  and  54  the  chiton  was 
added  in  some  color  of  paint  which  now  has  completely  faded.4  This 
vase  is  known  to  me  only  from  the  description,  but  it  is  easy  to  recognize 
the  woman  with  extended  hand  on  no.  45  and  the  nude  youth  on  no.  52. 5 

48.  Vienna,  Hofmus.  Inven.  1873.     Eretria.     H.  0.365  m. 

On  the  shoulder  egg-pattern  and  palmettes;  maeander  reversing,  broken  by  dotted 
oblique  crosses.  The  lines  of  the  drawing  are  not  quite  so  fine  nor  so  dark  as  on  previous 
numbers.  No  trace  of  color  remains. 

At  the  left  a  woman  stands  in  profile,  her  head  slightly  bowed,  holding  out  in  both 
hands  a  large  flat  basket.  She  wears  a  sleeve  chiton  with  long  overfold  ungirded;  her 
hair  is  in  a  knot  at  the  back  of  her  head,  so  arranged  as  to  leave  it  loose  over  the  fore- 
head and  down  over  the  ears. 

Before  her  stands  another  woman  nearly  in  profile;  in  her  extended  right  hand  is 
a  toilet  vase,  while  her  left  hand  is  raised  slightly  as  though  she  had  been  holding  the  skirt 
of  her  garment.  She  wears  a  chiton  with  long  overfold  ungirded;  her  hair  is  entirely 
covered  with  a  sakkos. 

In  the  field  at  the  left  hangs  a  sakkos  with  zigzag  marking  and  trefoil  strings. 

The  lines  of  the  figures  on  this  vase  resemble  in  many  points  the 
woman  on  no.  46;  the  lines  of  the  body  and  of  the  garment  are  almost 

1  E.g.  Brit.  Mm.  E  171.  *  E.g.  Gerhard,  Ant.  ftum.  Taf.  305-306. 

8  E.g.  Vienna,  Sacken-Kenner,  S.  129  (169),  Laborde,  I,  pi.  xi. 
4  No.  50,  Brit.  Mus.  D  57;  no.  54,  Athens,  Nat.  Mu«.  1960. 
6  No.  45,  Bologna,  362  ;  no.  52,  Athens,  Nat.  Mus.  1822. 

Q 


226  ATHENIAN  WHITE   LEKYTHOI 

identical  except  that  the  shoulder  is  decidedly  thrown  back;  the  head 
has  the  same  slight  inclination  forward;  the  upward  glance  of  the  eye, 
the  grave  mouth,  and  the  small  chin  are  the  same;  in  particular  the 
hand  lowered  as  if  to  grasp  the  garment  recalls  the  hand  of  the  woman 
grasping  her  garment  skirt  on  the  Cyprus  vase. 

48a.  New  York,  Metr.  Mus.  Inven.  06,  1171.  H.  0.325  m. 
Plate  X,  i. 

On  the  shoulder  a  rude  egg-pattern  and  three  palmettes;  the  shoulder  ornament  and 
the  simple  maeander  are  drawn  in  black  glaze.  The  scene  is  drawn  in  rather  fine  yellow 
glaze  lines;  no  color  remains.  Apparently  the  work  was  rapidly  done  by  a  sure  hand. 
There  is  no  preliminary  sketch,  but  portions  of  each  figure  are  drawn  (as  if  the  garments 
were  transparent)  in  the  same  glaze  lines  as  the  rest  of  the  scene. 

At  the  left  stands  a  woman  in  profile  with  head  bowed,  holding  out  in  both  hands  a 
flat  basket.  The  side  of  the  basket  has  a  band  of  ornament  and  from  it  hang  two  thick 
taeniae.  The  woman  wears  a  sleeve  chiton  with  long  overfold  from  the  shoulder,  un- 
girded.  Her  hair  is  in  a  loose  coil  close  to  the  head. 

At  the  right  a  second  woman  stands  en  face,  looking  toward  her  companion;  in  her 
left  hand  she  holds  up  a  decorated  smegmatotheke  as  high  as  her  shoulder,  while  the 
right  hand  is  raised  slightly  toward  her  companion,  palm  in.  Her  garment  and  hair  are 
like  those  of  the  woman  at  the  left. 

Behind  the  woman  at  the  left  hangs  a  sakkos  with  trefoil;  between  the  heads  of  the 
two  women  are  traces  of  an  inscription  in  one  line,  AIOTIMO^  KAAO^. 

This  vase  seems  to  be  from  the  same  hand  as  the  one  just  described 
(no.  48),  and  the  scene  is  almost  the  same,  except  that  the  position  of 
the  figure  at  the  right  has  been  shifted.  The  inscription  is  in  a  dull 
black  almost  faded;  although  the  second  word  has  probably  been 
retouched,  there  seems  little  doubt  as  to  the  original  reading.  The 
name  Diotimos  is  not  found  among  the  kalos  names  yet  recorded,  but 
it  was  not  an  uncommon  name  in  Athens. 

49.  Athens,  Nat.  Mus.  1818,  Cv.  1837.  Eretria.  H.  0.427  m. 
Six,  Banner  Studien,  p.  157,  Taf.  xii;  Jour.  Hell.  Stud.  1896,  p.  175; 
1899,  p.  180. 

The  body  swells  slightly  from  the  shoulder  down.  On  the  shoulder  egg-pattern  and 
palmettes  with  added  purplish  leaves.  The  maeander  is  reversing,  broken  with  dotted 
oblique  crosses;  below  is  a  simple  maeander.  Drawn  in  yellowish  brown  glaze  lines. 
Pink,  reddish  brown,  and  dull  yellow  are  added. 

On  a  dull  pink  chair  at  the  left  sits  a  woman  turned  partly  toward  the  front;  her  right 
arm  rests  easily  on  the  back  of  her  chair,  and  her  left  hand  lies  on  her  knee.  She  wears  a 
chiton  of  transparent  yellow  stuff,  and  a  mantle  (once  red?)  is  drawn  over  her  knees; 
her  hair  falls  in  heavy  curls  in  front  of  her  ear  and  is  gathered  in  a  flat  knot  behind. 
Ear-rings,  a  necklace,  and  sandals  complete  her  toilet. 

Before  her  stands  a  young  warrior  nearly  in  profile,  his  right  leg  relaxed;    in  his 


GROUP   C:    CLASS   V,  483-50  227 

left  hand  are  spear  and  shield,  and  with  his  right  he  holds  out  toward  his  companion  a 
Corinthian  helmet  with  large  crest.  He  wears  a  transparent  yellow  chiton  undergirded; 
on  the  right  shoulder  is  seen  a  red  band  which  supports  his  scabbard  (or  shield  ?).  The 
shield  has  as  its  emblem  a  large  open  eye,  painted  in  detail. 

In  the  field  above  the  woman  hang  a  small  oinochoe,  a  mirror,  and  a  red  sakkos. 

By  an  unusual  good  fortune  this  splendid  lekythos,  the  finest  of  the 
whole  series,  is  preserved  almost  intact.  The  use  of  yellow  was  hardly 
limited  to  this  specimen,  but  it  is  rarely  preserved;  the  second  maeander 
is  only  in  place  on  such  a  large  lekythos,  to  which  special  care  has  been 
devoted.  The  oinochoe  in  the  field  recalls  the  vases  with  the  name 
Hygiainon.  As  compared  with  them  the  present  vase  is  rather  less 
stiff,  yet  the  severe  profile  and  the  delicate  hands  indicate  a  close 
relationship.  The  slight  indication  of  the  eyelashes  is  unusual  in  this 
series,  and  the  pupil  is  here  given  by  a  dot  (as  on  red-figured  ware  of 
this  period),  not  by  a  line.  In  the  present  scene  both  figures  are  treated 
with  some  freedom.  The  ephebos  turns  naturally  as  he  holds  out  his 
helmet  for  the  woman  to  see,  and  relaxes  his  right  leg.1  The  seated 
woman  with  her  right  arm  over  the  back  of  her  chair  and  her  left  foot 
drawn  back  is  a  familiar  figure  in  scenes  of  feminine  life  on  red-figured 
vases  of  the  "fine"  period.2  No  doubt  the  type  was  introduced  into 
vase  painting  from  the  painting  of  the  greater  artists,  and  much  later 
it  was  adopted  by  the  sculptor.3  Successfully  as  the  artist  handles  it 
here,  he  keeps  the  tradition  of  the  mantle  about  the  hips.  With  all 
its  general  similarity  the  meaning  of  the  scene  is  varied  from  that  on 
no.  46  (Brit.  Mus.  D  51).  There  the  wife  is  bringing  the  helmet  to 
her  husband  as  he  arms  himself  to  go  away  to  war.  Here  an  ephebos 
has  come  to  exhibit  his  newly  acquired  arms  to  a  woman  in  her  home. 
The  fact  that  the  woman  wears  sandals  does  not  mean  that  she  is  going 
out.  Her  sandals,  like  her  necklace  and  ear-rings,  like  the  detail  of 
the  helmet  and  shield,  are  indications  of  the  elaborate  care  of  the 
painter.  On  some  less  carefully  painted  vases  of  series  c  (e.g.  no.  21) 
and  of  series  e  (e.g.  no.  64)  the  ephebos  wears  boots,  but  they  detract 
from  the  elegance  of  the  figure. 

4ga.    Oxford,  Ashm.  1690.    Gela.     Fragment  0.05  m.  by  0.02  m. 

The  head  of  a  youth  facing  toward  the  right;  very  fine  and  careful  drawing. 

50.    London,  Brit.  Mus.  D  57.     Eretria.     H.    iij  in.     White  Atb. 
)  pi.  i. 

1  Cp.  the  youth  with  spear  and  shield,  holding  out  a  helmet,  Hartwig,  Afeiaertet^tn,  Taf.  71. 
1  One  of  the  earlier  examples  is  on  *  hydria  in  Berlin,  Furtw.  a 395. 
*  Cp. ,  however,  Zeus  on  the  Parthenon  frieze. 


228  ATHENIAN  WHITE   LEKYTHOI 

On  the  shoulder  egg-pattern  and  typical  palmettes;  maeander  complicated,  unbroken. 
Drawn  in  brown  glaze,  the  hair  in  curved  strokes  with  a  coarse  brush.  Red  is  used  for 
garments  and  sakkos.  A  quite  complete  preliminary  sketch  in  the  soft  clay  may  be  made 
out.  Apparently  the  heads  have  been  retouched. 

At  the  right  a  woman  sits  with  her  left  arm  over  the  back  of  her  chair,  extending  her 
right  hand  to  take  an  alabastron.  Her  chiton  has  disappeared;  about  her  knees  is  a 
red  himation;  her  hair  is  all  in  a  cloth,  about  which  is  a  broad  taenia  (?)  once  colored. 

At  the  left  comes  a  woman  in  profile,  holding  out  in  her  right  hand  an  alabastron. 
She  wears  a  sleeve  chiton  and  a  himation,  the  color  of  which  has  nearly  disappeared, 
covering  her  left  arm.  The  hair  falls  loosely  in  front  of  her  ear  and  is  gathered  in  a  flat 
knot  behind. 

In  the  field  at  the  right  hangs  a  sakkos  with  trefoil  strings. 

The  type  of  the  seated  woman  differs  from  that  on  the  previous 
vase  in  that  the  feet  are  nearer  together,  and  she  leans  forward  with 
the  familiar  gesture  of  the  extended  hand.  Her  eye  seems  to  be  modern 
drawing,  but  the  profile  and  the  hand  closely  resemble  what  is  seen 
on  other  vases  of  the  series.  From  the  photograph  it  is  difficult  to 
detect  retouching  in  the  figure  at  the  left,  though  the  face  is  consider- 
ably longer  and  the  lower  jaw  heavier  than  would  be  expected.  The 
alabastron  replaces  the  usual  toilet  vase  with  cover,  but  its  correctness 
is  attested  by  the  preliminary  sketch. 

51.    London,  Brit.  Mus.  D  87.    Gela.     H.  i6f  in. 

On  the  shoulder  egg-pattern  and  typical  palmettes;  maeander  reversing,  broken 
by  dotted  oblique  crosses.  The  slip  is  quite  brown  as  if  it  had  been  injured  by  fire; 
the  brown  glaze  of  the  drawing  also  has  nearly  lost  its  lustre.  Dark  red  is  used  for 
the  himation. 

At  the  right  sits  a  woman  with  her  left  arm  over  the  back  of  her  chair,  looking  up 
(and  extending  her  right  hand  ?).  She  wears  a  brown  chiton,  and  over  her  knees  is  a  dark 
red  himation;  the  hair  is  in  a  flat  knot  at  the  back  of  her  head. 

Before  her  stands  a  maid  holding  out  on  her  left  hand  a  basket  of  taeniae. 

This  vase,  which  is  much  damaged,  is  strikingly  like  the  preceding 
number  in  its  general  scene.  The  size  of  the  vase  is  unusual,  the  brown 
used  for  the  drawing  quite  lacks  the  usual  lustre,  and  the  drawing  is 
very  unlike  the  delicate  work  on  other  numbers  of  the  series.  Ap- 
parently the  chiton  of  the  seated  figure  is  in  the  same  paint  as  the  out- 
line and  the  hair.  This  vase  was  not  on  exhibition  when  I  last  visited 
the  British  Museum,  so  that  I  hesitate  to  express  any  opinion  about  it; 
it  is  possible  that  it  should  rather  be  classed  with  Oxford  268  in  Group  B, 
where  most  of  the  later  Gela  lekythoi  belong,  and  that  both  the  vase 
in  Oxford  and  the  present  vase  should  be  regarded  as  coarse  imitations 
of  the  finer  work  in  this  series,  which  were  made  for  the  export  trade 
to  Sicily. 


GROUP   C:    CLASS   V,   51-54  229 

52.  Athens,  Private  Collection.     Attica.     H.  0.345  m. 

No  traces  remain  either  of  palmettes  on  the  shoulder,  or  of  a  maeander  above  the 
scene.  Drawn  in  rather  fine  lines  of  brown  glaze.  Thin  glaze  is  used  for  lines  which 
are  to  be  covered  by  a  garment. 

On  two  steps  stands  a  stele  crowned  with  egg  moulding  and  palmetto  (the  lower 
leaves  end  in  a  point);  about  it  is  tied  a  red  taenia. 

At  the  left  stands  a  man  with  head  slightly  bowed,  his  right  hand  extended,  palm  up, 
so  that  the  fingers  touch  the  stele.  He  wears  a  red  himation. 

At  the  right  a  woman  places  her  foot  on  a  slight  elevation  and  holds  out  a  flat  basket 
of  taeniae.  Her  head  is  slightly  bowed.  She  wears  a  red  sleeveless  chiton,  and  her  hair 
is  covered  with  a  dotted  cloth. 

53.  Athens,  Nat.  Mus.  1822,  Cv.  1700.     H.  0.34  m.     Jour.  Hell. 
Stud.  1899,  p.  1 80.  Plate  XV. 

On  the  shoulder  egg-pattern  and  typical  palmettes;  maeander  broken  by  dotted 
oblique  crosses,  not  reversing.  Drawn  in  fine  lines  of  glaze,  yellow  to  brown;  a  thin  pink 
color  is  used  for  the  garment,  bright  red  and  green  for  taeniae. 

The  slender  stele  on  two  steps  is  crowned  by  bead  moulding  and  palmette  which 
rests  on  six  pointed  leaves;  about  it  are  tied  two  taeniae,  and  on  the  upper  step  hangs 
a  short  thick  taenia  fastened  in  the  form  of  a  ring. 

At  the  left  a  naked  youth  stands  en  face,  the  details  of  the  anatomy  added  in  fine 
lines  with  great  care.  In  his  lowered  left  hand  he  has  a  strigil.  The  hair  is  in  fine  black 
curls  on  a  yellow  ground. 

At  the  right  a  woman  stands  en  face  carrying  on  her  left  arm  a  basket  of  taeniae,  which 
she  steadies  with  her  right  hand.  She  wears  a  sleeveless  chiton  girded  over  a  long  over- 
fold;  her  hair  is  all  in  a  cloth. 

54.  Athens,  Nat.  Mus.  1960,  Cv.  1699.      Eretria.      H.  o.  315  m. 
Jour.  Hell.  Stud.  1899,  p.  171,  and  fig  i.     Plate  VIII,  I. 

On  the  shoulder  egg-pattern  and  typical  palmettes;  maeander  broken  by  dotted 
oblique  crosses,  not  reversing.  Drawn  in  fine  lines  of  yellow  glaze;  the  hair  is  put  on 
with  a  coarse  brush  on  a  yellow  ground.  Yellowish  brown  (black  fold  lines)  and  pink 
are  used  for  the  garments.  There  are  traces  of  a  preliminary  sketch  in  the  soft  clay. 

In  the  centre  a  large  elliptical  tumulus  stands  on  two  steps;  on  the  lower  step  is  seen 
a  series  of  some  eight  circles. 

At  the  left  stands  a  woman  in  profile,  extending  both  hands  as  though  she  were 
holding  out  a  taenia.  Her  sleeve  chiton  has  disappeared;  over  this  she  wears  a  brown 
himation  (black  stripes)  which  leaves  the  right  arm  free.  Her  hair  falls  in  thick  curls 
over  the  forehead  and  in  front  of  the  ear,  and  is  gathered  in  a  loose  knot  behind. 

At  the  right  a  woman  stands  en  face,  carrying  on  her  left  arm  a  basket  of  taeniae 
which  she  steadies  with  her  right  hand.  She  wears  a  sleeveless  pink  chiton  with  long 
overfold  (not  outlined  in  glaze);  her  hair  is  all  in  a  cloth. 

On  these  last  two  vases  the  figures  at  the  right  are  identical  except 
for  the  manner  in  which  the  chiton  is  treated;  in  fact  all  the  work  is  so 


230  ATHENIAN  WHITE   LEKYTHOI 

similar  that  one  has  no  hesitation  in  regarding  the  two  as  a  pair  of  vases 
made  together  by  the  same  artist.  The  hands  are  of  the  type  familiar 
in  this  series,  but  they  are  not  done  as  well  as  usual;  on  the  other  hand, 
the  artist  pays  special  attention  to  the  eye  and  the  ear;  as  on  several 
of  the  later  vases  in  the  series,  the  lower  lip  is  emphasized  more  than  in 
the  Hygiainon  vases. 

The  stele  on  no.  52  and  on  no.  53  is  peculiar  in  that  several  pointed 
leaves  are  drawn  beneath  the  palmette;  probably  these  leaves  should 
be  regarded  as  the  antecedent  of  the  acanthus  leaves  which  appear 
at  this  point  on  a  later  class  of  lekythoi  with  outline  in  dull  color.  On 
two  vases  of  series  c  the  figure  at  the  right  has  one  foot  raised,  once  on 
the  stele  step,  once  on  an  elevation  away  from  the  stele.1  The  gesture 
of  the  man  on  no.  52  may  be  simply  the  extended  hand  which  has  been 
noted  on  earlier  numbers  of  this  series;  more  probably  he  held  a  taenia 
that  has  disappeared. 

Number  53  is  specially  interesting  for  the  fine  figure  of  a  nude  youth 
at  the  left  of  the  stele.  The  general  attitude  is  not  unlike  that  of  the 
Florence  Idolino  (reversed);  in  the  Idolino  also  both  feet  rest  flat  on 
the  ground,  the  left  leg  is  relaxed  and  the  foot  turned  out,  the  relaxed 
left  arm  is  slightly  bent  and  the  hand  turned  toward  the  body,  and  the 
right  arm  is  raised  from  the  elbow.  Except  for  the  position  of  the 
relaxed  arm  the  figure  much  more  closely  resembles  the  Terme  Mu- 
seum Dionysus  from  Hadrian's  villa  2  and  the  "  Adonis  "  Apollo  of  the 
Vatican.3  Of  the  latter  Helbig  says,  "Hingegen  scheint  es  bedeutsam, 
dass  die  Figur,  die  auf  dem  linken  Beine  steht,  das  rechte,  mit  voller 
Sohle  auftretend,  zur  Seite  und  etwas  nach  vorwarts  setzt,  den  1.  Unter- 
arm  vorstreckt  und  den  r.  Arm  langs  der  Seite  herabhangen  lasst,  ein 
Motiv  zeigt,  welche  mit  Vorliebe  von  der  Schule  des  Argivers  Hage- 
laidas  verwendet  wurde."  Both  the  Dionysus  and  the  Apollo  belong 
to  the  series  of  figures  which  Furtwangler  connects  with  Euphranor.4 
But  while  the  nearly  relaxed  right  arm  recalls  the  Idolino  and  the  gen- 
eral attitude  very  closely  resembles  the  "Adonis"  Apollo,  the  forms 
of  the  body  are  more  fully  developed  and  heavier  than  in  the  statues 
which  have  been  cited.  The  unusual  care  in  the  treatment  of  the  body, 
though  the  method  is  purely  that  of  the  vase  painter,  is  perhaps  an 
indication  that  the  painter  has  in  mind  a  definite  statue.  The  nude 

1  Nos.  22  and  26. 

2  Helbig,  Fiibrer,  1063;   Collignon,  Hittoire  de  la  sculpture  grccquc,  II,  354,  fig.   180. 

8  Helbig,  Fiibrcr,  no.  264  (I,  p.  161);  Clarac,  IV,  pi.  633,  no.  1424  A;  cp.  also  a  coin  of  Corinth, 
Imhoof-Blumer  and  Gardner,  Numismatic  Commentary  on  Pausanias,  pi.  E,  86. 

4  Furtwangler,  Mehteriverke,  S.  587-590,  fig.  115  ;  Eng.  trans,  pp.  354-357,  fig.  153. 


GROUP  C:    CLASS   V,    55  231 

athlete  with  a  strigil  is  common  enough  on  vases; l  the  fact  that  the 
head  is  in  full  profile  and  not  bowed,  is  probably  an  adaptation  to  the 
lekythos  type;  on  the  other  hand  the  position  of  the  legs  in  this  figure 
is  decidedly  unusual  in  vase  painting  of  this  period.  I  believe  the 
evidence  warrants  the  statement  that  we  have  here  the  reproduction  of 
a  statue,  presumably  a  grave  statue,  as  one  of  the  figures  present  at  the 
stele.  The  presence  of  the  dead  person  himself  at  the  grave  monument, 
here  indicated  by  his  statue,  is  not  uncommon  on  lekythoi  of  a  slightly 
later  period.  Opposite  the  dead  person  is  the  woman  bringing  offerings 
to  his  soul ;  the  same  method  of  carrying  the  basket  is  seen  occasionally 
on  later  lekythoi,2  but  never  more  delicately  drawn  than  here.  The 
taenia  with  its  ends  tied,  together  in  a  circle  is  frequently  seen  on  the 
stele  on  vases  of  series  e. 

On  no.  54  the  figure  at  the  right  differs  from  the  corresponding 
figure  on  the  vase  just  described  only  in  the  different  treatment  of  the 
chiton;  here  the  outlines  and  folds  of  the  garment  were  not  drawn  in 
glaze  and  the  dull  color  has  entirely  disappeared.  The  figure  at  the 
left  quite  closely  resembles  the  corresponding  figure  on  no.  50  (Brit. 
Mus.  D  57).  The  attitude  varies  only  in  that  she  bends  forward  a 
little  more  and  has  freed  her  left  hand  from  her  mantle;  the  lower  part 
of  the  face  is  more  developed  than  usual,  but  not  quite  so  much  as  on 
the  vase  in  the  British  Museum.  A  comparison  with  the  following 
lekythos  indicates  that  she  held  a  taenia  which,  like  the  garment  of 
her  companion,  has  now  completely  faded.  The  large  oval  tumulus 
and  the  row  of  circles  along  the  lower  step  have  already  been  discussed 
in  connection  with  no.  22  of  the  present  class  (Athens,  Nat.  Mus.  1935). 

55.  Athens,  Nat.  Mus.  1980,  Cv.  1748.  Eretria.  H.  0.35  m. 
AeXriW,  1889,  cr.  214,  9.  (Fig.  49.) 

On  the  shoulder  egg-pattern  and  typical  palmettes;  maeander  reversing,  broken 
by  dotted  oblique  crosses.  Drawn  in  rather  fine  lines  of  brown  glaze.  Red  is  used  for 
taeniae;  bright  red  with  black  lines  for  the  chlamys  of  the  youth.  The  vase  is  much 
damaged  and  possibly  retouched  in  places. 

In  the  centre  a  slender  stele  stands  on  two  steps,  and  is  decorated  with  red  taeniae; 
its  top  has  disappeared. 

At  the  left  stands  a  woman  in  profile,  holding  out  a  red  taenia  in  both  hands.  She 
wears  a  sleeve  chiton  with  long  overfold  ( ?),  once  colored;  her  hair  falls  over  her  fore- 
head and  ear  in  thick  curls  and  is  gathered  in  a  loose  knot  behind. 

Opposite  her  stands  a  youth  en  facf,  holding  out  his  right  hand  down  toward  the  stele 
(palm  in).  He  wears  a  large  chlamys  which  covers  his  left  hand,  and  a  petasos  hangs 
on  his  shoulders. 

1  E.g.  Hartwig,  Meitttrubaltn,  S.  16 ;   Brit.  Mui.  E  8j  ;  Oxford,  Athm.  304. 
*  E.g.  Droden,  Albertinum,  266  ;   Berlin,  Inrcn.   3138. 


232 


ATHENIAN  WHITE   LEKYTHOI 


The  woman  at  the  left  somewhat  resembles  the  corresponding  figure 
on  the  preceding  vase,  e.g.  in  the  gesture  and  the  arrangement  of  the 

hair;  the  profile,  however,  is  nearer 
the  Hygiainon  type,  especially  in  the 
small  lower  lip  and  chin,  while  her 
right  shoulder  is  thrown  well  back. 
She  may  well  be  compared  with  a 
woman  in  the  same  attitude  on  a  red- 
figured  lekythos  in  Athens.  It  would 
seem  that,  while  this  class  is  not  as 
closely  related  to  red-figured  work  as 
the  preceding  classes,  such  a  red- 
figured  lekythos  with  its  scene  at  the 
grave  came  from  a  shop  where  white 
grave  lekythoi  were  made.  Just 
enough  remains  of  the  figure  at  the 
right  to  serve  for  comparison  with 
the  corresponding  figure  on  the  next 
vase. 

56.  Oxford,  Ashm.  Laurion.  H. 
0.35  m.  Jour.  Hell.  Stud.  1899,  p. 
181. 


FIG.  49  (no.  55). 


On  the  shoulder  egg-pattern  and  typical 
palmettes  with  added  red  leaves,  maeander  re- 
versing (once),  broken  by  dotted  oblique  crosses.  Drawn  in  fine  lines  of  dark  brown 
glaze;  the  thin  yellow  glaze  used  to  sketch  the  figure  under  the  garments  may  be  seen 
in  places  through  the  dull  color;  light  red,  and  dark  red  with  black  fold-lines  are  used  for 
garments.  The  hair  is  done  in  black  with  a  coarse  brush  on  a  yellow  surface.  Air-hole 
in  the  lower  part  of  the  body. 

In  the  centre  a  small  slender  stele  with  square  top  stands  on  four  high  blocks;  it  is 
decorated  with  several  red  taeniae. 

At  the  left  a  woman  stands  in  profile,  her  head  bowed,  holding  in  her  right  hand  a 
toilet  vase,  in  her  left  an  alabastron.  She  wears  a  sleeve  chiton  (no  fold-lines)  and  a  dark 
red  himation  which  leaves  the  right  shoulder  free;  her  hair  is  in  a  large  knot  supported 
by  a  wide  white  taenia  about  her  head. 

At  the  right  stands  a  small  youth  en  face,  holding  out  his  right  hand  toward  the  stele 
(palm  in).  He  wears  a  himation  which  leaves  the  right  shoulder  free  and  covers  the 
left  hand;  his  hair  falls  loose  in  front  of  the  ear,  and  is  probably  tied  over  the  head  in 
braids. 

Both  the  face  and  the  attitude  of  this  woman  recall  the  woman  with 
a  basket  of  lekythoi  on  the  Hygiainon  lekythos  in  Worcester  (no.  35). 


GROUP   C:    CLASS   V,    56-58  233 

The  youth  is  perhaps  the  more  interesting  figure.  He  is  in  the  same 
position  as  the  ephebos  on  the  preceding  vase,  except  that  he  stands 
more  fully  in  profile  and  here  it  is  the  left  foot  which  is  seen  in  profile, 
in  the  other  case  it  is  the  right.  The  meaning  of  the  gesture  is  far 
from  clear;  possibly  the  youth  is  raising  his  hand  to  take  what  his 
companion  carries,  possibly  he  is  himself  holding  a  heavy  taenia  which 
has  disappeared.  The  treatment  of  the  hair  cannot  be  quite  made 
out,  though  apparently  braids  from  the  back  are  fastened  over  the 
forehead  and  loose  locks  are  left  on  the  forehead  and  in  front  of  the 
ears  —  a  method  not  uncommon  on  statues  of  youths  dating  from 
the  earlier  half  of  the  fifth  century.  We  may  well  ask  how  a  boy  hap- 
pens to  be  at  the  tomb  with  this  woman,  unless  perhaps  the  boy  in 
this  instance,  like  the  ephebos  on  the  previous  vase,  may  represent  the 
dead  person.  If  this  be  the  correct  interpretation,  he  might  naturally 
raise  his  hand  to  take  the  offerings  brought  to  his  soul. 

57.  Athens,  Nat.  Mus.   1838,  (Coll.  640),  Cv.  1714.     Eretria  ( ?). 
H.  0.402  m.     Benndorf,  Griech.  Sic.   Vas.  Taf.  xviii,  2;    Jour.  Hell. 
Stud.  1899,  p.  181. 

On  the  shoulder  egg-pattern  and  typical  palmettes;  maeander  reversing,  broken  by 
dotted  oblique  crosses.  The  body  swells  slightly  below  the  shoulder.  Drawn  in  rather 
fine  lines  of  brown,  now  not  very  shiny;  a  similar  brown  is  used  for  the  woman's  hi  mar  ion. 

A  slender  stele  stands  on  two  steps,  and  is  crowned  by  a  bead  moulding  and  low 
pediment  carefully  drawn. 

At  the  left  stands  a  youth  in  profile,  carrying  a  spear  in  his  left  hand.  He  wears 
a  chlamys  drawn  in  outline,  and  a  petasos  hangs  from  his  shoulder. 

Opposite  him  stands  a  woman  nearly  in  profile,  holding  up  her  right  hand  as  though 
she  were  presenting  a  taenia  or  other  offering  to  the  dead.  She  wears  a  sleeve  chiton 
and  a  long  brown  himation  which  covers  her  left  hand. 

The  drawing  on  this  vase  shows  the  same  firm  delicate  touch  as  on 
other  lekythoi  of  the  series.  Both  Collignon  and  Couve  regard  the 
woman's  raised  hand  as  a  gesture  indicating  that  she  is  conversing  with 
the  dead;  I  do  not  understand  them  to  imply  that  the  ephebos  repre- 
sents the  person  of  the  dead,  though  of  course  this  is  a  possible  inter- 
pretation. 

58.  Cassel,  Coll.  E.  Habich.     H.  0.35  m.     Jahr.  Arch.  Inst.  1898, 
Arch  Anz.  S.  192,  no.  10;  Jour.  Hell.  Stud.  1899,  p.  l8i,T. 

Maeander  reversing,  broken  by  dotted  oblique  crosses.  (No  account  is  given  of  the 
shoulder  or  of  the  coloring.) 

A  stele  on  three  steps  is  surmounted  by  egg  moulding  and  reserved  palmette;  near 
the  top  is  a  small  relief  framed  between  two  antae,  in  which  apparently  a  seated  and  a 
standing  figure  are  represented. 


234  ATHENIAN  WHITE   LEKYTHOI 

At  the  left  stands  a  woman  in  profile,  her  head  bowed,  holding  on  her  right  hand  a 
toilet  vase,  in  her  left  a  lekythos  and  an  alabastron  suspended  by  strings.  She  wears  a 
sleeveless  chiton  girded  over  a  long  overfold;  her  hair  is  in  a  loose  knot  at  the  back  of 
her  head. 

Opposite  her  stands  a  woman  en  face,  carrying  a  large  box  on  her  left  arm,  and  in 
her  left  hand  an  alabastron  suspended  by  strings.  She  wears  a  sleeve  chiton  with  long 
overfold  peculiarly  marked. 

In  the  field  at  the  left  hangs  a  sakkos  with  trefoil  strings. 

Boehlau,  who  publishes  this  vase,  calls  attention  to  the  interesting 
relief  on  the  stele,  and  to  the  manner  in  which  the  little  lekythos  is 
painted  over  the  thumb  of  the  woman's  hand.  If  the  base  of  the  leky- 
thos were  added,  this  carelessness  is  what  one  would  expect  in  other 
types  of  vases;  in  the  present  series,  where  the  hands  were  rendered  with 
such  care  and  delicacy,  such  a  treatment  of  the  hand  is  hardly  con- 
ceivable. The  alabastron  hung  by  strings  and  the  box  on  the  woman's 
arm  are  found  on.  later  lekythoi  and  may  be  original  here.  On  the 
other  hand,  the  garment  of  the  figure  at  the  right  is  certainly  open  to 
suspicion.  The  fact  that  the  stele  is  not  near  the  centre  of  the  group 
also  rouses  suspicion.  Under  these  circumstances  the  reserved  pal- 
mette,  which  is  unusual,  and  the  small  relief  near  the  top  of  the  stele, 
which  has  no  parallel,  confirm  the  belief  that  the  lekythos  has  been 
quite  freely  repainted.  Most  of  the  figure  at  the  left  and  the  body  of 
the  woman  at  the  right  appear  to  be  genuine;  probably,  as  Mr.  Bosan- 
quet  has  suggested,1  the  stele  should  be  omitted  entirely,  in  which  case 
the  scene  might  be  compared  with  no.  48  above,2  or  with  no.  62 
in  the  next  series.3 

59.  Vienna,  Oester.  Mus.  1088  (10007).  Attica,  Cape  Zoster. 
H.  about  0.35  m.  (Fig.  50.) 

On  the  shoulder  egg-pattern  and  palmettes;  a  red  leaf  is  inserted  between  the  second 
and  third  leaves  of  each  palmette.  The  maeander  is  broken  by  dotted  oblique  crosses, 
but  does  not  reverse.  Drawn  in  fine  lines  of  glaze,  very  thin  for  the  preliminary  sketch, 
brown  elsewhere  and  even  black  for  the  hair;  the  hair  is  drawn  with  flat  straight  strokes 
of  the  same  brush.  Dull  black,  dark  red,  and  vermilion  are  used  for  garments  and 
accessories. 

In  the  centre  a  square  stele  stands  on  two  high  steps;  it  is  crowned  by  astragal, 
cyma,  and  abacus;  on  the  top  is  a  kalathos  and  above  it  a  diphros  with  cushion.  From 
the  top  of  the  stele  hang  two  black  and  three  red  taeniae;  a  thick  taenia,  ornamented 
with  dots,  is  draped  around  the  bottom  of  the  second  step.  On  the  ground  below  is  a 
smegmatotheke. 

At  the  left  stands  a  woman  in  profile,  both  arms  covered  by  the  himation  which  she 
drapes  closely  around  herself.  The  chiton  is  without  color  ;  the  himation,  vermilion 

1  your.  Hell.  Stud.  1899,  p.  181,  note  under  T.  2  Vienna,  Hofmus.  1873. 

8  Athens,  Nat.  Mus.  1823. 


GROUP  C:    CLASS   V,   59 


235 


with   black  fold-lines.     Her  hair  is  loosely  drawn  back  and  held  in  a  small  knot;   she 
wears  ear-rings. 

At  the  right  a  man  stands  nearly  in  profile,  his  right  hand  supported  on  top  of  a  cane. 
A  dark  red  mantle,  fold  lines  in  black,  covers  his  left  arm;  the  thin  glaze  lines  of  the  pre- 
liminary sketch  show  through  the  color.  The  pointed  beard  and  profile  with  slightly 
swelling  forehead  are  carefully  drawn. 

The  head  of  the  woman  resembles  in  general  structure,  especially 
in  the  position  of  the  eyes,  that  of  the  woman  at  the  left  on  the  vase 


FIG.  50  (no.  59). 

found  with  this  one,  no.  43  above ;  *  the  most  striking  difference  is  in 
the  profile  of  the  nose.  The  fact  that  she  is  fully  draped  may  be  a 
touch  of  literalness,  for  no  doubt  a  woman  going  to  the  tomb  with  her 
husband  2  would  be  thus  fully  draped;  or  possibly  she  may  represent 
the  woman  for  whom  the  tomb  was  erected,  for  the  articles  of  feminine 
use  on  the  stele  signify  that  it  is  a  woman's  tomb.  About  both  the 
figures  there  is  that  slight  look  of  melancholy  which  occurs  on  grave- 

1  Vienna,  Ootcr.  Mu».  1087. 

*  With  the  figure  at  the  right  compare  no.  25,  A  them,  Nat.  Mm.  1797. 


236  ATHENIAN  WHITE   LEKYTHOI 

stones  of  a  period  not  much  later;  the  faces  are  not  sad,  but  there 
is  something  of  seriousness,  perhaps  of  wistfulness,  in  the  expression. 
The  kalathos,  diphros,  and  smegmatotheke  are  drawn  with  great 
care  and  detail;  probably  they  should  be  regarded  as  actual  offerings 
at  the  tomb,1  though  it  is  possible  that  they  are  symbols  of  some  relief 
on  the  stele,  which  the  painter  did  not  know  how  to  represent  success- 
fully.2 The  smegmatotheke  is  brought  as  an  offering  to  the  grave, 
e.g.  on  no.  56  supra  ;  that  articles  of  feminine  use  should  be  brought 
as  offerings  to  the  grave  of  a  woman,  is  no  more  strange  than  that 
weapons  should  be  brought  to  that  of  a  man.  It  may  be  noted,  more- 
over, that  on  a  lekythos  of  the  next  class  a  helmet  does  appear  in  relief 
near  the  top  of  a  stele.3 


As  a  whole  the  present  series  is  quite  homogeneous,  both  in  the 
style  of  the  drawing  and  in  the  spirit  of  the  scenes  represented.  The 
shape  of  the  vase  has  now  reached  a  type  which  does  not  change 
materially  in  later  classes.  The  shoulder  ornament  and  the  maeander, 
also,  conform  to  certain  types  which  are  sometimes  simplified  but  never 
greatly  modified  later.  On  nos.  50  and  54  the  artist  seems  to  have 
used  the  preliminary  sketch  with  a  dull  point  in  the  soft  clay,  as  was 
often  done  by  earlier  painters  of  outline  lekythoi  and  by  painters  of 
red-figured  ware.  But  the  types  of  figures  were  few  and  there  was  not 
much  variety  in  the  scenes;  naturally  the  painter  who  was  doing  this 
class  of  work  would  be  able  to  sketch  in  the  outlines  of  the  figure  at 
once  in  glaze  lines  without  any  such  preliminary  aid.  The  ordinary 
procedure  was  to  sketch  the  nude  figure  first,  and  often  the  lines  of  the 
garment  were  added  either  in  the  same  lines  as  the  outline,  or  more 
commonly  in  a  thinner  glaze.  The  lines  were  then  covered  with  the 
dull  color,  but  frequently  it  has  rubbed  off  from  the  glaze  lines  so  that 
they  show  through.  The  lines  of  the  drawing  are  finer  than  is  cus- 
tomary on  the  preceding  series,  but  they  are  of  the  same  precise,  even 
character.  The  black  silhouette  garment  is  found  on  no.  35,  but  the 
artists  prefer  to  use  a  dull  color,  black,  dark  red,  or  vermilion,  or 
sometimes  a  brown. 

A  striking  characteristic  of  the  series,  pointed  out  by  Mr.  Bosanquet, 
is  the  absence  of  emotion,  and  indeed  the  absence  of  any  close  connec- 
tion with  reality.  The  artist  is  content  with  a  few  figures,  which  he 

1  Cp.  C  VI,  I,  no.  5,  Berlin  Inven.  3291,  Jour.  Hell.  Stud.  1899,  pi.  Hi. 

2  Jour.  Hell.  Stud.  1899,  p.  175.  8  Class  VI,  i,  no.  2,  Brit.  Mus.  D  58. 


GROUP   C:    CLASS   V,   series   d  237 

varies  slightly  in  different  combinations,  and  his  whole  effort  is  toward 
a  sort  of  prim  elegance.  The  lines  of  the  whole  figure  are  drawn  with 
accuracy  and  grace,  the  faces  show  even  more  care  than  skill,  but  it 
is  on  the  small  and  delicate  hands  that  the  artists  have  lavished  their 
special  attention. 

Eight  of  the  scenes  are  at  the  grave;  in  these  scenes  the  absence  of 
meaning  in  the  figures  is  specially  noticeable.  '  Perhaps  four  more 
scenes  at  home  may  be  regarded  as  depicting  a  preparation  to  go  to 
the  grave.  Of  the  domestic  scenes,  two  introduce  musical  instruments, 
in  five  the  maid  brings  a  garment  or  receives  a  garment  from  her 
mistress,  four  represent  a  man,  husband  or  lover.  The  seated  figure 
has  been  common  enough  in  the  earlier  classes;  here  the  woman  sits 
in  a  chair  with  back,  and  in  two  instances  her  arm  is  over  the  back  of 
the  chair  in  easy  attitude.  For  the  standing  figures  the  profile  point 
of  view  is  preferred;  the  partial  profile  is  avoided,  and  a  moving  figure 
is  found  but  once,  as  though  it  did  not  suit  the  dignity  of  these  painters. 
One  of  these  women  holds  in  her  hand  the  wreath,  as  on  earlier  leky- 
thoi;  often  she  holds  a  taenia,  a  toilet  vase,  a  flat  basket,  a  helmet,  a 
lyre.  The  hand  extended  to  receive  one  of  these  objects  permits  the 
delicate  treatment  of  which  these  artists  were  fond.  The  only  peculiar 
gesture  is  the  hand  raised  slightly  from  the  side,  palm  in(nos.48  and  56); 
perhaps  the  artist  intended  to  represent  these  figures  as  in  the  act  of 
raising  the  hand  to  take  something. 

The  women  usually  wear  a  chiton  with  sleeves,  girded  over  a  long 
overfold;  except  in  this  and  the  following  series  this  method  of  wear- 
ing the  chiton  is  rarely  seen  on  lekythoi  and  is  not  very  common  on 
red-figured  vases.  The  sleeveless  chiton  sometimes  marks  the  figure 
of  a  servant.  A  himation  is  worn  ordinarily  by  women  at  the  grave, 
but  not  in  the  home. 

As  a  rule  the  men  and  women  are  not  very  slender,  and  in  some  cases 
the  legs  are  unduly  short  and  the  heads  large.  The  profile  of  the  face 
is  quite  well  marked,  a  low  forehead,  a  rather  long  nose,  and  a  chin 
which  tends  to  be  square  or  pointing  forward.  The  inner  contour  of 
the  nose  and  the  double  line  of  the  eyelid  are  regularly  given;  the 
pupil  is  not  a  dot,  but  more  exactly  a  line  connecting  the  lids  (the 
contour  line  of  the  eye,  rather  than  the  pupil).  Quite  commonly 
the  hair  is  drawn  in  separate  black  strokes  against  a  yellow  back- 
ground. The  hair  of  women  is  either  wrapped  in  a  cloth,  or  loosely 
drawn  back  and  gathered  in  a  rather  small,  flat  knot  at  the  back  of 
the  head. 


238  ATHENIAN  WHITE   LEKYTHOI 

Objects  hanging  in  the  field  occur  in  most  of  the  domestic  scenes, 
but  in  this  series  they  are  not  transferred  to  the  scenes  at  the  grave. 
The  decorated  sakkos,  the  mirror,  and  (on  vases  with  a  kalos  inscrip- 
tion) a  small  oinochoe  are  seen  hanging  on  the  wall  of  the  gynaikeion. 
The  only  inscriptions  are  three-line  kalos  inscriptions  (twice)  and  the 
words  Hygiainon  kalos  which  are  found  on  at  least  five  specimens. 
It  appears  that  the  series  is  remarkably  homogeneous,  and  it  will  be 
noted  that,  in  spite  of  some  well-defined  differences,  it  is  closely  re- 
lated to  the  following  series.  It  may  be  merely  chance  that  a  large 
number  of  this  series  were  found  in  or  near  Athens.  The  "  academic  " 
character  of  the  series,  the  fact  that  each  figure  is  made  to  be  admired 
by  itself  irrespective  of  its  meaning,  is  its  most  marked  peculiarity. 


e.    Stiff  slender  figures;    more  free  use  of  color. 

Closely  related  to  the  series  just  considered,  and  partaking  in  some 
degree  of  its  academic  character,  is  a  small  series  of  lekythoi  which 
are  strikingly  alike.  An  external  mark  of  these  lekythoi  is  the  fond- 
ness of  the  artist  for  a  thick  taenia,  often  fastened  in  the  form  of  a 
circle,  and  decorated  with  dots  or  hatching.  The  figures  are  much 
slenderer  than  on  the  preceding  series,  and  yellow, 
bright  red,  and  dull  black  are  used  more  freely  than 
on  other  series  of  glaze  outline  lekythoi. 

62.  Athens,  Nat.  Mus.  1823,  Cv.  1838.  Eretria. 
H.  0.32  m.  Jour.  Hell.  Stud.  1899,  p.  180.  (Fig. 

Si-) 

On  the  shoulder  egg-pattern  and  typical  palmettes.  Maeander 
reversing,  broken  by  dotted  oblique  crosses.  Drawn  in  fine 
brown  lines;  yellowish  brown  with  red  fold-lines  and  light  red 
with  black  fold-lines  are  used  for  garments;  on  the  hair  is  a  pur- 
ple taenia.  Apparently  a  preliminary  sketch  was  made  with  a 

sharp  point  before  the  sketch  in  thin   glaze  which  shows  through 
FIG.  51  (no.  62). 

the  dull  color. 

At  the  left  in  front  of  a  diphros  (legs  solid,  cushion  in  outline)  a  woman  stands  in 
profile,  holding  out  a  smegmatotheke  in  her  right  hand.  She  wears  a  yellowish  brown 
sleeveless  chiton,  red  fold-lines,  girded  over  a  long  overfold;  her  hair  is  loosely  drawn 
back  and  gathered  in  a  small  knot. 

At  the  right  a  woman  stand  en  face,  carrying  an  alabastron  by  a  string  in  her  right 
hand.  She  wears  a  sleeve  chiton  of  the  same  color  as  her  companion's,  and  over  it  a  light 
red  himation  with  dull  black  fold-lines  (the  glaze  lines  of  the  sketch  show  white  through 
the  dull  color);  her  hair  is  coiled  at  the  back  of  her  head  and  held  up  by  a  purple  taenia. 

At  the  right  a  sakkos  hangs  in  the  field,  at  the  left  an  outlined  mirror. 


GROUP   C:    CLASS  V,   62-64  239 

63.  Athens,    Nat.    Mus.    1943,  Cv.  1839.      Eretria.      H.   0.38   m. 
AcXrtoi/,  1889,  a:  174,  5;   Jour.  Hell.  Stud.  1896,  p.  175,  fig.  3;   Fest- 
schrift fur  O.  Benndorf,  S.  94. 

On  the  shoulder  egg-pattern  and  normal  palmettes;  maeander  reversing,  broken  by 
dotted  oblique  crosses.  Drawn  in  dark  brown  glaze;  yellow  with  black  fold-lines  and 
red  with  black  fold-lines  are  used  for  garments.  The  glaze  lines  of  the  sketch  show 
white  through  the  dull  color. 

At  the  left  stands  a  woman  in  profile,  holding  out  in  both  hands  a  large  yellow  taenia. 
She  wears  a  sleeveless  chiton  (yellow  with  black  fold-lines)  girded  over  a  long  overfold; 
her  hair  is  drawn  loosely  back  and  gathered  in  a  small  knot. 

At  the  right,  by  a  diphros  with  black  legs,  a  woman  stands  en  face,  holding  out  in  her 
right  hand  an  ornamented  smegmatotheke,  in  her  left  hand  a  small  black  casket.  Her 
hair  and  garment  are  like  her  companion's,  except  that  the  color  is  red. 

64.  Athens,    Nat.   Mus.   1945,  Cv.   1840.      Eretria.     H.    0.38    m. 
AeXn'oj',  1889,  <r.  175,  8;  Jour.  Hell.  Stud.  1896,  p.  175. 

On  the  shoulder  egg-pattern  and  normal  palmettes;  maeander  reversing,  broken  by 
dotted  oblique  crosses.  Drawn  in  dark  brown  glaze;  yellowish  brown  with  black  fold- 
lines  is  used  for  one  garment.  The  glaze  lines  of  the  sketch  show  through  the  dull  color, 
and  include  more  of  the  woman's  garment  than  was  finished. 

At  the  left,  by  a  diphros  with  black  legs,  stands  a  woman  in  profile,  pouring  from  an 
oinochoe  in  her  right  hand  for  the  youth  opposite.  She  wears  a  chiton  (in  outline,  folds 
only  in  the  preliminary  sketch)  which  has  full  sleeves  and  long  overfold;  her  hair  is  drawn 
loosely  back  and  gathered  in  a  small  knot. 

Opposite  her  a  youth  stands  en  face,  holding  out  a  phiale  to  the  woman.  He 
wears  a  brown  chlamys,  petasos  hanging  on  his  shoulders,  and  shoes  laced  halfway 
up  to  the  knees.  His  hair  is  solid  black,  but  a  row  of  curls  is  added  around  the 
edge. 

These  three  vases  seem  to  be  from  one  hand  at  about  the  same  time. 
The  diphros  is  added  in  each  instance  to  the  schema  of  two  figures, 
one  en  face •,  the  other  in  profile;  the  solid  black  hair,  the  representation 
of  the  pupil  of  the  eye  by  a  dot  against  the  upper  lid,  the  same  use  of 
dull  black  fold-lines  on  the  dull  color  of  the  garments,  and  many  simi- 
larities in  the  drawing  bring  these  vases  into  very  close  connection. 
The  "farewell"  scene  in  which  a  woman  pours  for  a  man  to  drink 
or  make  libation  is  common  on  red-figured  ware  of  the  period;  the 
same  theme  is  differently  treated  on  lekythoi  (e.g.  on  no.  I  of  this  class), 
but  here  the  artist  has  drawn  his  inspiration  from  the  red-figured 
treatment  of  the  theme.  The  other  two  vases  are  in  the  home,  simple 
scenes  of  toilet,  or  rather,  as  the  taenia  suggests,  scenes  of  preparation 
to  go  to  the  grave;  they  follow  very  closely  the  type  already  established 
for  this  scene. 


24o  ATHENIAN  WHITE   LEKYTHOI 

65.  Boston  Mus.  P.  6544.     H.  0.381  m.     Plate  XI. 

On  the  shoulder  egg-pattern  and  normal  palmettes  (red  leaves  added);  the  maeander 
is  broken  by  dotted  oblique  crosses,  reversing.  Drawn  in  fine  lines  of  glaze  shading  from 
orange  to  black;  red  and  dull  black  are  used  for  garments  and  taeniae.  Preliminary 
sketch  (with  a  dull  point  ?). 

At  the  left  a  woman  stands  in  profile,  with  head  bowed,  holding  out  in  both  hands  a 
flat  basket  from  which  hang  red  and  black  taeniae.  She  wears  a  red  chiton  girded  over 
a  long  overfold;  her  hair  is  in  a  rather  large  knot  at  the  back  of  the  head. 

At  the  right  a  woman  stands  en  face,  holding  up  an  alabastron  in  her  right  hand  and 
extending  her  left  hand  in  the  other  direction  with  a  somewhat  affected  gesture.  She 
wears  a  chiton  like  her  companion's,  but  not  colored;  her  hair  is  drawn  loosely  back  and 
tied  in  a  sort  of  bag,  as  on  several  lekythoi  of  Class  IV. 

66.  Coll.  von  Branteghem.     Burlington  Fine  Arts  Club  Exhibi- 
tion,   1888,     Catalogue,    p.    31,    no.    56.     H.    0.309    m.     Jour.    Hell. 
Stud.  1899,  p.  1 80. 

On  the  shoulder  egg-pattern  and  normal  palmettes;  the  maeander  is  broken  by 
dotted  oblique  crosses,  reversing.  Drawn  in  brown  glaze;  red  is  used  for  a  mantle, 
and  through  it  show  the  white  lines  of  the  preliminary  sketch. 

At  the  left  stands  a  youth  carrying  a  spear  in  his  left  hand;  he  wears  a  chlamys, 
and  a  petasos  hangs  on  his  shoulder. 

Opposite  stands  an  old  man  nearly  in  profile,  bent  over  and  leaning  on  the  cane  in 
his  right  hand.  He  wears  a  long  red  mantle. 

67.  London,  Brit.  Mus.  D  55.     Eretria.     H.  11^  in.     White  Ath. 
Vases )  pi.  xxvi  B;   Jour.  Hell.  Stud.  1899,  p.  180. 

On  the  shoulder  egg-pattern  and  normal  palmettes  (red  leaves  added);  the  maeander 
is  broken  by  dotted  oblique  crosses,  reversing.  Slip  slightly  brownish.  Vermilion  and 
dark  red,  each  with  dull  black  fold-lines,  are  used  for  garments.  The  hair  is  stippled 
on  a  yellow  glaze  basis.  Thin  glaze  lines  were  used  for  the  preliminary  sketch  and  to 
suggest  the  folds  of  the  garments. 

At  the  left  a  young  woman  stands  in  profile  and  holds  out  her  right  hand  as  if  con- 
versing. She  wears  a  sleeve  chiton  and  a  vermilion  himation  which  is  drawn  up  over 
the  back  of  her  head;  her  hair  is  drawn  loosely  back  and  gathered  in  a  flat  knot  behind. 
Her  left  leg  is  relieved  of  any  weight. 

Facing  her  stands  a  youth  nearly  en  face,  but  the  right  leg  on  which  he  stands  is  seen 
in  profile.  He  wears  a  dark  red  chlamys  and  holds  a  staff  or  spear  upright  in  his  right 
hand. 

In  the  field  at  the  left  hangs  a  dark  red  sakkos. 

While  these  three  vases  exhibit  very  much  the  same  style  of  drawing 
as  the  preceding  three,  especially  in  the  profile  and  in  the  stiffness  of 
the  slender  figures,  some  differences  may  be  detected.  The  same 
scheme  of  arrangement  holds  on  no.  65,  but  not  on  the  others,  for  on 
them  the  right-hand  figure  is  not  in  full  profile,  and  on  no.  67  the 


GROUP  C:    CLASS  V,  65-69  241 

"Spielbein"  is  quite  successfully  handled.  The  faces  of  the  young 
women  on  no.  67  and  at  the  right  on  no.  65  have  a  strikingly  modern 
look;  the  small  lips,  which  characterize  all  the  faces  on  this  series,  and 
the  position  of  the  ear  well  back  are  the  only  mannerisms  to  attract 
attention.  We  miss  the  very  delicate  hands  of  the  preceding  series, 
and  the  gesture  on  no.  65,  like  that  of  the  woman  on  no.  64,  seems  almost 
affected.  The  hair  of  this  right-hand  figure  on  no.  65  may  perhaps  be 
a  continuation  of  the  tradition  of  Class  IV,  but  more  probably  it  is 
copied  from  red-figured  ware,  on  which  it  is  not  uncommon  at  this 
period. 

The  figure  of  the  aged  man  on  no.  66  is  the  one  bit  of  realism  which 
the  painter  of  this  series  permits  himself.  It  reappears  less  success- 
fully drawn  on  a  lekythos  in  the  first  class  of  lekythoi  with  outlines  in 
dull  color.1 

68.  Boston  Mus.  Rob.  449.     Eretria.     H.  0.327  m.     Jour.  Hell. 
Stud.  1899,  p.  181. 

On  the  shoulder  normal  palmettes;  the  maeander  is  broken  by  dotted  oblique  crosses 
reversing.  Drawn  in  orange  glaze;  the  taeniae  are  red,  black,  and  without  color;  deep 
red  is  used  for  a  garment.  The  preliminary  sketch  of  the  figure  was  in  thin  glaze.  There 
is  a  small  hole  in  the  vase  near  the  bottom. 

On  two  high  steps  stands  a  high,  rather  broad  stele,  crowned  with  bead  moulding 
and  abacus.  Red  and  black  taeniae  are  tied  around  it;  around  the  upper  step  is  draped 
a  thick  taenia  marked  with  bars  and  dots,  and  a  similar  taenia  tied  in  a  circle  is  seen 
against  this  step  in  front. 

At  the  left  a  woman  stands  in  profile,  holding  out  a  smegmatotheke  in  her  right  hand. 
She  wears  a  sleeve  chiton  drawn  in  outline,  and  a  deep  red  himation. 

Opposite  her  stands  another  woman  in  profile  holding  out  a  red  taenia  (almost 
effaced)  in  both  hands.  She  wears  a  chiton  girded  over  a  long  overfold,  without  color; 
the  preliminary  sketch  gives  the  lines  of  her  figure.  The  hair  of  both  women  is  drawn 
loosely  back  and  gathered  in  a  knot. 

At  the  grave  it  is  natural  that  women  should  wear  the  himation, 
but,  apparently  for  the  sake  of  variety,  it  is  here  omitted  in  the  case  of 
one  woman.  That  the  chiton  is  without  color  in  the  case  of  both  figures 
shows  a  reaction  from  the  free  use  of  color  in  the  earlier  members  of 
this  series.  Both  figures  are  copied  without  any  effort  for  originalin 
The  thick  taenia  with  bars  and  dots,  which  is  a  favorite  with  the 
painter  or  shop  from  which  these  lekythoi  came,  is  seen  here  for  the 
first  time  in  this  series. 

69.  Athens,  Nat.   Mus.    1821,  Cv.    1698.     Eretria.     H.  0.315  m. 
Jour.  Hell.  Stud.  1899,  p.  181.     (Fig.  52.) 

l  Brit.  Mus.  D  56,  fTkiu  Ath.  PM*,,  pi.  im. 


242  ATHENIAN  WHITE   LEKYTHOI 

On  the  shoulder  egg-pattern  and  typical  palmettes;  the  maeander  is  broken  by  dotted 
oblique  crosses,  reversing.  Thin  yellow  with  dark  folds,  thick  yellow,  thin  red  with 
black  folds,  dark  red  with  black  folds,  and  dull  black  are  used  for  garments  and  accesso- 
ries. The  hair  is  stippled  on  a  yellow  glaze  background.  Apparently  a  preliminary 
sketch  was  made  with  a  sharp  point,  before  the  sketch  in  thin  glaze  which  shows  through 
the  dull  color. 

The  slender  shaft  of  the  stele  stands  on  a  high  plinth,  and  is  surmounted  by  an 
astragal  moulding  and  a  simple  pediment.  Taeniae  are  tied  around  the  shaft,  a  thick 
dotted  taenia  is  draped  around  the  base  of  the  shaft,  and  a  thick  taenia  tied  in  a  circle 
is  hung  against  the  base. 

At  the  left  a  woman  stands  in  profile  with  bowed  head,  holding  out  a  smegmatotheke 
in  her  right  hand.  She  wears  a  sleeve  chiton  (thin  yellow  with  brown  folds)  and  a  dark 
red  himation  (black  fold-lines)  which  reaches  nearly  to  her  feet;  the  original  lines  of  the 

sketch  show  white  through  the  dull  color; 
her  hair  is  drawn  loosely  back  and  fastened 
in  a  flat  knot  behind. 

At  the  right  a  youth  stands  nearly  en 
face,  his  right  leg  relieved,  holding  in  his 
right  hand  a  spear  erect  (dark  red).  He 
wears  a  long  chlamys  (thin  red,  black  fold- 
lines,  original  sketch  showing  white),  a  pe- 
tasos  which  hangs  on  his  shoulder,  and 
boots  of  thick  yellow  which  reach  halfway 
to  the  knee. 

The  composition  of  the  scene  is 

FIG.  52  (no.  69).  Til  /: 

very  like  that  on  no.  04,  —  a  woman 

in  profile  with  bowed  head  holding  out  some  object  in  her  right  hand, 
and  at  the  right  a  youth  nearly  en  face,  —  and  except  for  the  addition 
of  the  woman's  himation  the  lines  of  the  garments  are  almost  exactly 
the  same.  Perhaps  the  body  of  the  youth  is  treated  with  a  little  more 
freedom,  though  the  figures  are  more  stiff  than  on  no.  67,  where  the 
same  schema  reappears.  This  youth  with  the  spear  erect  (cp.  nos.  66, 
71,  and  72)  is  as  much  a  part  of  this  painter's  apparatus  as  the  woman 
holding  out  a  smegmatotheke.  The  introduction  of  the  stele  between 
the  two  makes  them  seem  more  independent,  and  if  possible  stiffer, 
than  when  they  stand  by  themselves  as  if  engaged  in  some  common 
action.  The  use  of  color  recalls  the  first  numbers  of  this  series,  but 
the  hair  is  treated  with  more  freedom. 

70.  London,  Brit.  Mus.  D  54.  Eretria.  H.  13  in.  White  Ath. 
Vases,  pi.  v;  Jour.  Hell.  Stud.  1899,  p.  181. 

On  the  shoulder  egg-pattern  and  normal  palmettes  with  added  red  leaves;  the  mae- 
ander is  broken  by  dotted  oblique  crosses,  reversing.  Slip  slightly  brownish.  Vermilion 
and  dark  red,  each  with  added  black  lines,  and  dull  black  are  used  for  garments  and 


GROUP   C:    CLASS   V,    70-71  243 

accessories.  The  hair  is  stippled  in  black  on  a  yellow  glaze  background.  The  pre- 
liminary sketch  in  glaze  outline  shows  through  the  dull  color. 

A  slender  shaft  with  low  pediment  stands  on  a  high  plinth.  Black  and  red  taeniae 
are  bound  around  the  shaft,  and  a  thick  taenia  with  bars  and  dots  is  draped  around  its 
base.  At  the  left  a  winged  "soul,"  without  garments,  one  hand  raised  to  the  head,  flies 
toward  the  top  of  the  stele. 

At  the  left  a  youth  stands  in  partial  profile,  his  right  leg  relieved  and  bent,  carrying 
in  his  right  hand  a  spear  erect.  A  vermilion  chlamys  leaves 'the  right  side  exposed  but 
covers  the  raised  left  hand;  a  petasos  hangs  from  his  shoulders. 

At  the  right  a  slender  youth  stands  in  profile,  his  right  leg  relieved,  holding  out  a 
purse  in  his  right  hand.  A  dark  red  himation  reaches  nearly  to  his  feet  and  covers  the 
bent  left  arm;  the  folds  about  his  neck  are  rather  thick. 

The  general  treatment  of  the  figures  on  this  vase  at  once  recalls 
no.  67  (Brit.  Mus.  D  55),  though  their  relative  position  is  reversed  and 
the  stele  is  introduced  between  them.  The  lines  of  the  young  woman 
on  that  vase  are  much  the  same  as  those  of  the  figure  at  the  right  here, 
except  that  she  is  not  so  slender;  the  youth  at  the  right  there  is  almost 
exactly  reproduced  from  a  different  point  of  view  here.  The  two  vases 
may  be  regarded  as  a  pair,  and  while  they  have  many  points  in  common 
with  the  rest  of  the  series,  they  are  so  much  alike  that  probably  they 
were  made  together.  The  difference  caused  by  the  introduction  of 
the  stele  is  interesting.  The  youth  with  the  purse  is  evidently  intended 
as  a  mourner  bringing  an  offering  to  the  dead.  On  the  other  hand, 
the  figure  at  the  left  seems  to  have  been  drawn  with  some  plastic  type 
in  the  mind  of  the  artist,  and  the  question  is  inevitably  raised  whether 
he  did  not  mean  to  depict  the  dead  person  to  whom  the  offerings  are 
brought.  The  presence  of  the  little  soul  with  one  hand  raised  to  the 
head  in  lamentation  does  not  contradict  this  view,  for  the  artist  might 
well  have  intended  to  bring  out  the  contrast  between  the  youth  in 
the  fulness  of  his  powers,  and  the  poor  soul  which  alone  remained 
after  death.  On  no.  8  of  this  class  and  on  several  lekythoi  of  Group  D 
a  soul  is  seen  with  Charon;  those  souls,  however,  are  fully  draped, 
and  here  for  the  first  time  is  found  that  type  of  soul  which  occurs  rather 
commonly  on  lekythoi  with  drawing  in  dull  colors.  On  those  vases 
the  soul  may  show  this  gesture  of  lamentation,  or  both  arms  may  be 
extended. 

71.  London,  South  Kensington  Mus.  1235.  Lent  by  George 
Salting,  Esq.  H.  14^  in.  Burlington  Fine  Arts  Club  Exhibition,  1904, 
Catalogue,  no.  34;  Jour.  Hell.  Stud.  1899,  p.  181. 

On  the  shoulder  egg-pattern  and  typical  palmettes  (red  leaves  added);  the  maeandcr 
is  broken  by  dotted  oblique  squares,  reversing.  Slip  yellowish.  Drawn  in  fine  lines 


244  ATHENIAN  WHITE   LEKYTHOI 

of  brown  glaze;  the  hair  is  drawn  in  black  with  a  fine  brush  on  a  yellow  glaze  surface. 
Dark  red  with  black  fold-lines  and  dark  blue  are  used  for  garments  and  taeniae.  The 
maeander  (but  not  the  enclosing  lines)  is  broken  by  the  top  of  the  stele.  The  lines  of 
the  sketch  in  glaze  show  white  through  the  dull  color. 

On  two  high  steps  stands  a  slender  stele  crowned  by  egg  moulding  and  triple  palmette. 
Two  red  and  two  blue  taeniae  are  fastened  on  the  shaft,  a  thick  dotted  taenia  is  draped 
around  the  upper  step,  and  a  similar  taenia  fastened  in  a  circle  is  hung  against  the  lower 
step. 

At  the  left  a  youth  in  profile  approaches,  holding  out  his  right  hand  palm  down  (as 
if  he  were  presenting  a  taenia);  his  left  hand  grasps  a  light  garment  which  hangs  over 
his  left  shoulder  (red  with  black  fold-lines). 

At  the  right  a  youth  in  partial  profile  approaches,  carrying  a  spear  erect  in  his  right 
hand.  He  wears  a  large  dark  red  chlamys,  through  the  color  of  which  the  glaze  lines 
of  the  sketch  may  be  seen,  and  a  petasos  hangs  on  his  shoulder. 

This  fine  lekythos  presents  a  slight  modification  of  the  scheme  of 
composition  on  the  preceding  one,  in  that  the  figures  are  represented 
as  approaching  the  stele.  The  editor  of  the  catalogue  of  the  Burlington 
Exhibition  suggests  that  both  the  figures  may  have  been  copied 
from  grave  reliefs.  We  may  well  question  whether  the  lekythos  is  of 
as  late  a  date  as  such  a  statement  implies,  but  the  influence  of  plastic 
art  is  clearly  to  be  traced.  The  real  point  is  whether  this  painter 
has  some  plastic  work  in  mind,  or  whether  he  is  influenced  by  figures 
on  red-figured  ware  which  are  based  on  models  in  sculpture.  The 
figure  at  the  left  is  extremely  like  the  Apollo  on  a  red-figured  oinochoe 
in  the  British  Museum; 1  the  attitude  is  just  the  same  and  the  garment 
is  treated  in  the  same  manner,  only  the  lips,  the  long  curls,  and  the 
laurel  branch  of  Apollo  held  in  the  left  hand  are  different.  The  red- 
figured  oinochoe,  like  this  lekythos,  would  be  dated  from  the  second 
half  of  the  fifth  century.  Just  this  type  of  figure  is  sufficiently  unusual 
on  red-figured  work  so  that  possibly  that  painter  was  copying  a  type 
which  really  belongs  to  this  series  of  lekythoi;  if  this  suggestion  has 
any  truth  in  it,  it  would  mean  that  lekythos  painters  in  this  period  had 
a  standing  which  they  did  not  have  before  or  after.  In  any  case  the 
influence  of  sculpture  is  evident,  and  it  is  the  more  striking  because  it 
appears  both  on  lekythoi  and  on  red-figured  vases. 

72.  Chicago,  Art  Institute.  H.  0.33  m.  Attica.  Exhibition  of 
the  Burlington  Fine  Arts  Club,  1888,  Catalogue,  p.  54,  no.  122. 

On  the  shoulder  egg-pattern  and  normal  palmettes.     Drawn  in  black  glaze;    dull 
black  and  red  are  used  for  garments  and  taeniae,  and  dull  gray  for  the  man's  hair. 
In  the  centre  a  stele  with  black  taeniae. 

1  Brit.  Mus.  E  516,  "late  fine  style,"  Cat.  Vasei.  Ill,  pi.  xviii. 


GROUP  C:    CLASS   V,   72-73  245 

At  the  left  stands  a  nude  youth  with  a  lance  in  his  left  hand  and  on  his  left  arm  a 
chlamys. 

At  the  right  a  bearded  man  leans  on  a  staff  in  his  right  hand;  he  wears  a  red  mantle. 

The  figures  on  this  lekythos,  which  I  know  only  from  the  published 
description,  are  familiar  from  other  members  of  Group  C.  The  figure 
at  the  left  is  to  be  compared  with  a  youth  on  a  vase  of  the  same  collec- 
tion now  in  Boston; '  here  the  lance  is  in  the  left  hand,  and  on  the  left 
arm  a  chlamys  is  hanging  as  on  the  vase  under  discussion.  The  old 
man  leaning  on  his  staff"  occurs  e.g.  on  nos.  25  and  66,  and  on  nos.  9 
(Boston,  7192)  and  15  (Athens,  Nat.  Mus.  1993)  of  Class  VI,  i. 

73.  Annali  d.  Inst.  1842,  Tav.  L,  p.  in;  Jahn,  Munch.  Vasen- 
sammlung,  S.  xxiv. 

The  ornament  is  not  described;  the  plate  shows  it  to  be  normal  except  that  a  simple 
maeander  is  added  below  the  scene. 

On  two  steps  stands  a  rather  slender  shaft,  crowned  with  astragal  and  pediment. 
Taeniae  are  tied  around  the  shaft,  a  dotted  taenia  is  draped  around  the  upper  step,  and 
a  similar  taenia  is  fastened  together  and  laid  against  the  upper  step. 

At  the  left  a  nude  youth  stands  nearly  en  face,  the  right  leg  relieved.  His  head  is 
bowed;  the  right  hand  is  raised  but  is  apparently  empty. 

At  the  right  a  woman  in  profile  approaches,  carrying  a  taenia  in  her  right  hand  and 
holding  up  a  smegmatotheke  in  her  left  hand.  Probably  she  wore  the  usual  chiton  with 
long  overfold,  though  only  the  overfold  is  figured. 

This  lekythos  resembles  no.  70  in  that  one  of  the  figures  may  repre- 
sent the  dead  person  himself  and  is  drawn  under  the  influence  of  plastic 
models,  while  the  woman  at  the  right  is  simply  bringing  the  usual 
offerings  to  the  tomb.  The  anatomy  of  the  youth  is  indicated  with 
more  care,  if  we  may  trust  the  plate,  than  is  usual  on  these  lekythoi; 
the  slightly  raised  left  hand  resembles  the  affected  gesture  which  was 
mentioned  under  no.  65. 


In  size,  shape,  and  ornamentation  these  lekythoi  conform  to  the 
same  norm  as  those  of  the  preceding  series.  A  preliminary  sketch 
with  a  sharp  point  was  apparently  used  on  nos.  62  and  69;  on  almost 
all  these  vases  a  sketch  in  glaze,  usually  in  thin  glaze,  precedes  the  use 
of  dull  color  for  the  garments  and  shows  through  the  added  color. 
Six  of  the  scenes  are  at  the  grave;  two  might  be  interpreted  as  scenes 
of  parting;  the  other  four  probably  represent  the  preparation  to  go  to 
the  grave.  Color  is  used  more  freely  than  on  any  other  series  of  this 
class.  Yellow,  or  light  red,  or  dark  red,  each  with  added  folds  in 

1  Clan  VI,  I,  no.  10,  Boston,  P.  8440;   Burlington  Exhibition,  1888,  Catalogut,  no.  110. 


246  ATHENIAN  WHITE   LEKYTHOI 

dull  black,  are  very  common;  red,  blue,  and  dull  black  are  used  for 
taeniae;  thick  yellow  once  is  applied  to  boots;  as  on  the  earlier 
classes,  purple  is  applied  on  black  for  a  taenia  on  the  hair  in  at  least 
one  instance. 

The  stele  is  a  rather  slender  shaft  on  one  or  two  high  steps,  and  often 
crowned  by  a  low  pediment.  About  the  shaft  taeniae  are  tied,  but  the 
most  characteristic  mark  of  the  series  are  the  two  taeniae  at  the  base  of 
the  stele.  These  are  marked  with  bars  and  dots;  and  one  is  draped 
about  the  base  of  the  stele,  the  other  tied  in  a  circle  and  fastened  to  a 
step.1  The  latter  form  of  this  taenia  is  seen  on  no.  53  of  series  d,  and 
the  same  taenia  is  draped  about  the  base  of  the  stele  on  no.  59;  on 
no.  35  also  some  of  these  taeniae  are  hanging  from  the  basket  which 
the  woman  carries.  The  fact  remains  that  they  are  characteristic  of 
the  present  series.  The  taeniae  tied  around  the  shaft  also  are  more 
numerous  than  in  the  preceding  series. 

So  far  as  the  composition  of  the  scene  is  concerned,  the  earlier 
numbers  have  one  figure  in  profile,  the  other  en  face;  on  these  vases 
both  figures  stand  stiffly  and  do  not  show  one  leg  relaxed  as  on  the 
"Hygiainon"  vases.  On  nos.  67,  69,  and  70  the  right  leg  is  relieved 
and  the  whole  figure  at  one  side  is  gracefully  drawn  in  partial  profile; 
apparently  the  artist  had  made  a  careful  study  of  some  plastic  type. 
Finally,  on  nos.  71  and  73  the  figure  in  profile  is  advancing,  as  was 
commonly  the  case  in  the  earlier  classes. 

The  figures  are  slenderer  than  on  any  other  series  of  lekythoi,  and 
usually  the  legs  are  unduly  long  and  the  heads  very  small.2  The  high 
forehead,  small  nose  with  tip  slightly  raised,  very  thin  lips,  and  round 
chin  separate  these  vases  from  the  preceding  series  to  which  they  are 
closely  allied.  Hands  and  feet  are  carefully  drawn,  but  they  are 
not  at  all  so  graceful  as  in  series  d.  Women  wear  the  chiton  girded 
over  a  long  overfold  and  ordinarily  sleeveless;  the  garments  of  the  men, 
when  present,  vary  considerably,  but  none  wear  a  chiton.  It  should 
be  noted  that  the  percentage  of  men  is  much  larger  than  in  series  d. 
The  smegmatotheke  is  more  common  even  than  in  series  d,  when  women 
are  present;  an  alabastron,  a  taenia,  or  a  basket  of  taeniae  is  also  carried 
by  women.  The  hair  is  either  solid  black  or  stippled  black  on  a  yellow 
ground;  the  artist  seems  to  have  little  choice  between  the  two  methods 
of  treatment.  On  the  first  three  vases  a  black  diphros  is  partly  hidden 

!Cp.  Jour.  Hell.  Stud.   1896,  p.   175  f.  ;    1899,  p.   181. 

2  These  slender  figures  are  also  characteristic  of  some  fine  Nolan  amphorae.  Cp.  the  amphora  in  the 
Vatican,  Mat.  Greg.  II,  58;  Gerhard,  Aus.  Vastn.  Taf.  184. 


GROUP    D:   CLASS   VII,   i,  1-3  295 

rather  than  vases  will  be  discussed.  On  this  account  the  specimens 
within  each  series  are  arranged  in  general  by  subject;  scenes  from 
daily  life  precede  scenes  at  the  tomb,  and  wherever  possible  scenes  of 
the  same  type  are  described  consecutively. 

Within  Class  VII  we  may  separate  one  definitely  marked  series 
including  lekythoi  which  have  a  maeander  (or  space  for  a  maeander) 
both  above  and  below  the  main  scene.  The  second  series,  in  which 
there  is  a  little  more  variety,  consists  of  vases  which  do  not  have  the 
second  maeander  at  the  bottom. 


Series  I.    Maeander  both  above  and  below  the  scene 

The  typical  specimens  of  this  series  have  on  the  shoulder  a  double 
row  of  bars;  the  slip  is  pure  white  and  smooth  if  not  shiny;  on  the 
black  below  the  lower  maeander  are  several  purple  lines;  the  foot  is 
not  separated  from  the  body  by  a  "  cushion,"  and  its  shape  is  nor- 
mally that  shown  in  fig.  10  (p.  n). 

1.  Bologna,  Mus.    Civ.    Pell.   356.     Athens.     H.   about  0.22   m. 
Heydemann,  Hall.  Winck.  Prog.  p.  56,  no.  1863,  Taf.  I,  3. 

Ornament  typical;  slip  shiny;  the  yellow  glaze  lines  vary  to  black  for  the  hair  and 
the  dots  on  the  serpent. 

A  youth  with  sword  in  his  right  hand  and  chlamys  on  his  extended  left  arm  rushes 
against  a  serpent  on  a  pile  of  rocks  at  the  right;  the  petasos  has  fallen  to  his  neck;  on 
his  feet  are  boots  laced  nearly  to  the  knee. 

2.  Athens,  Nat.  Mus.  1859,  Cv,  1048.     H.  0.197  m-     Plate  XIV>  3- 

Ornament  typical;    slip  shiny;    drawing  vigorous  but  hasty. 

A  youth  in  the  same  dress  and  attitude  as  on  no.  I  rushes  with  drawn  sword  toward 
a  pile  of  rocks,  on  the  lowest  of  which  he  places  his  left  foot. 

3.  Athens,   Nat.   Mus.   1860,  Cv.   1017.      H.  0.22   m.      Dumont, 
Ceramiques  de  la  Grece  propre,  II,  53,  no.  23. 

Ornament  typical. 

A  bearded  warrior  with  petasos  and  chlamys  (which  covers  his  left  arm)  rushes 
toward  a  pile  of  rocks;  on  his  head  is  a  small  helmet  or  cap;  laced  footgear  as  on  the 
last  two  specimens. 

Although  the  serpent  or  "  dragon  "  occurs  on  but  one  of  these 
vases,  it  seems  fair  to  bring  them  together;  the  antagonist  to  be  sup- 
plied in  the  case  of  the  two  latter  might  be  a  warrior,1  in  either  case 

1  Cp.  the  Greek  and  Amazon,  Tuchbein,  II,  pi.  10. 


296  ATHENIAN  WHITE   LEKYTHOI 

the  boots  of  the  warrior  are  no  doubt  intended  to  indicate  that  some 
such  expedition  of  adventure  as  that  of  Cadmus  is  in  the  mind  of  the 
painter.  The  nearest  parallel  to  the  present  scene  is.  found  on  a  vase 
in  Munich,1  probably  of  later  date,  representing  the  adventures  of 
Jason.  At  one  point  the  hero  in  just  the  attitude  and  dress  seen  on 
these  lekythoi  is  rushing  toward  a  pile  of  rocks  surmounted  by  a  ser- 
pent; behind  him  Medea  holds  a  jewel  casket  on  her  left  hand  as  she 
watches  him.  From  some  such  scene  as  that  the  warrior  on  these 
three  lekythoi  has  been  taken.2 

4.  Paris,  Cab.  Med.  4903,  de  Ridder,  496  bis.    Marathon.     H.  0.19 
m.      Gaz.  Arch.   1885,  p.  282,  12,  pi.  32,  2;   cp.  Annali,  1847,  p.  384. 

Ornament  typical;    slip  hard  and  shiny;    foot  a  simple  disk. 

An  Asiatic  archer  carrying  .a  bow  in  his  left  hand  advances  to  the,  right,  looking  back 
and  holding  his  right  hand  back.  He  wears  short  tunic  with  long  sleeves  and  close- 
fitting  trousers,  both  ornamented  with  zigzags;  on  his  head  is  a  Phrygian  cap. 

This  type  of  "  Phrygian  "  is  not  infrequent  on  both  black-figured 
and  red-figured  ware;3  ordinarily  he  does  not  carry  a  bow,  though  this 
was  the  characteristic  weapon  of  Asia  Minor.  If  the  vase  really  be 
from  the  plain  of  Marathon,  it  is  difficult  to  resist  the  impression  that 
the  painter  has  a  Persian  in  mind.  The  attitude  of  the  figure  re- 
appears on  the  following  lekythoi. 

5.  Athens,  Nat.  Mus.  2395.     H.  about  0.20  m. 

Ornament  typical. 

Nike  wearing  chiton  with  full  sleeves  and  himation  hastens  to  the  right,  holding  out  a 
thin  taenia  in  both  hands;  on  her  head  is  a  stephane. 

6.  Athens,  Nat.  Mus.  1884,  Cv.  1056.     H.  0.20  m. 

Ornament  typical;    drawing  careless. 

Nike  in  chiton  and  himation  hastens  to  the  right.  In  the  field  in  front  hangs 
a  taenia. 

7.  Athens,  Nat.   Mus.    1873,  Cv.   1052.     H.   0.19  m.      Festchrift 
fur  0.  Benndorf,  S.  94. 

Ornament  typical. 

A  woman. wearing  chiton  and  himation  hastens  to  the  right  and  looks  back;  in  both 
hands  she  carries  a  large  purplish  taenia. 

The  winged  figure  of  a  woman  on  no.  5  closely  resembles  in  concep- 

1  Munich,  Jahn,  805  ;  on  a  Cyrenaic  vase  the  conflict  of  Cadmus  and  the  dragon  had  been  depicted  in 
somewhat  similar  terms,  Arch.  Zeit.  1881,  pi.  xii,  2. 

2  Cp.  Athens,  Nat.  Mus.  1 644. 

8  E.g.  Coll.  Jatta,  1608  ;   Brit.  Mus.  E  695,  and  the  "  Darius  "  vase,  Naples,  3253. 


GROUP   D:  CLASS  VII,    i,   4-12  297 

tion  the  Nike  (so  labelled)  on  a  lekythos  of  earlier  date  already  dis- 
cussed;1 even  such  a  detail  as  the  stephane  is  present  on  both  vases. 
The  type  of  an  advancing  woman,  sometimes  looking  back,  is  found 
several  times  on  the  small  lekythoi  of  Class  III.2  There  seems  to  be 
no  doubt  that  the  lekythoi  of  the  present  series  should  be  regarded  as  a 
continuation  of  series  b  in  Class  III,  and  it  is  quite  possible  that  the 
two  series  overlapped  in  time. 

8.  Athens,  Nat.  Mus.  Case  71,  Grave  2597. 

Ornament  typical;    foot  of  later  type;    drawing  rather  careful. 

At  the  left  a  sacrifice  is  in  progress  on  a  square  stone  block;  the  tail  of  the  animal  is 
visible  on  the  burning  wood.  At  the  right  a  woman  wearing  sleeve  chiton  and  himation, 
three-quarters  en  face,  pours  on  the  altar  from  a  phiale;  her  hair  is  all  in  a  cloth. 

9.  Coll.  Bammeville,  Froehner,  no.  14.     H.  0.218  m. 

Ornament  typical. 

At  the  left  is  an  altar;  before  it  a  woman  stands  pouring  a  libation.  "Elle  est 
coiffee  d'une  bandellette;  sa  main  droite  avancee  tient  une  patere  godronnee.  L'autel 
est  allume  et  pare  d'une  guirlande." 

10.  Bologna,  Mus.  Civ.,  Pell  360.     H.  0.22  m. 

Ornament  typical. 

At  the  right  is  a  square  block  (stele?);  over  it  hangs  a  taenia.  Before  it  a  wo- 
man stands  en  face,  raising  her  hands  to  her  head  in  a  gesture  of  mourning;  she  wears 
sleeveless  chiton  with  overfold. 

This  scene,  like  the  last,  is  continued  from  the  small  lekythoi  of 
Class  III,3  though  something  similar  occurs  on  larger  outline  lekythoi,4 
as  well  as  on  red-figured  lekythoi.  The  gradation  from  the  carefully 
drawn  sacrifice  of  no.  8  5  to  no.  10,  where  the  block  may  be  either  an 
altar  or  a  stele,  throws  light  on  the  tendency  to  abbreviate  and  simplify 
within  an  already  established  schema. 

11.  Berlin,  Furtw.  2247.     Athens.     H.  0.17  m. 

Ornament  typical. 

On  a  chair  a  woman  sits  facing  toward  the  right  and  pours  from  phialai  which  she 
holds  in  each  hand;  she  wears  sleeve  chiton,  himation,  and  a  sakkos  about  her  hair. 

12.  Athens,  Nat.  Mus.  Case  71,  Grave  2597. 

Ornament  typical.     Drawing  good  but  hasty. 

On  a  chair  a  woman  sits  facing  toward  the  right,  her  right  arm  thrown  over  the  back 

1  Cp.  A  III,  no.  65,  Athens,  Nat.  Mus.  1806. 

*  Cp.  A  III,  no.  15,  Brit.  Mus.  D  27  ;  also  nos.  17,  18,  and  19 

•  Cp.  A  III,  no.  25,  Berlin,  2251  ;    no.  37,  Copenhagen,  133  ;   no.  40,  Athens,  Private  Collection. 

*  A  II,  no.  5,  Athens,  1827;  no.  6,  Berlin,  1149;  B  IV,  i,  no.  12,  Brit.  Mus.  D  25. 

•  Cp.  especially  A  III,  no.  25,  Berlin,  2251. 


298  ATHENIAN  WHITE  LEKYTHOI 

of  the  chair;   her  hair  in  a  knot  is  held  up  by  a  taenia;  she  wears  a  sleeve  chiton  and  over 
her  knees  is  a  himation. 

These  two  examples  of  the  household  scenes,  so  common  in  Classes 
III,  IV,  and  V,  are  among  the  last  of  this  type;  both  are  abbreviated 
from  fuller  scenes,  the  first  perhaps  from  a  parting  scene,  the  second 
from  some  gynaikeion  scene.1  Number  12  shows  more  clearly  than 
perhaps  any  other  lekythos  of  this  group  the  influence  of  Class  V; 
there  is  no  question  that  it  belongs  to  the  same  period  and  the  same 
series  of  painters  as  the  lekythoi  mentioned  in  the  note  below. 

13.  Athens,   Nat.   Mus.   2025,  Cv.    1060.      H.   0.23   m.     Pettier, 
Lecytkes  blancs,  145,  45. 

Ornament  typical;    drawing  hasty. 

Nike,  wearing  chiton  and  himation,  sits  on  a  pile  of  rocks  holding  up  a  wreath  as  if 
she  were  about  to  put  it  on;  her  hair  is  held  up  by  a  stephane. 

This  "  Nike  "  is  dressed  in  the  same  manner  as  on  no.  5  supra. 
The  pile  of  rocks  as  a  seat  is  unique  on  outline  lekythoi;  on  a  red- 
figured  lekythos  2  of  this  same  period  Nike  is  sitting  on  rocks  as  here. 
The  attitude,  viz.  holding  a  wreath  as  if  about  to  put  it  on,  has  been 
noted  in  connection  with  several  lekythoi  of  Group  B.3 

14.  Athens,  Nat.  Mus.    1885,  Cv.   1039.     Benndorf,   Griech.   Sic. 
.)  Taf.  xix,  4. 


Ornament  typical,  neck  broken. 

On  a  base  of  three  steps  a  sphinx  is  seated  in  the  usual  attitude,  facing  toward  the 
right.  In  front  is  a  bush  in  foliage. 

The  sphinx,  which  occurs  so  often  in  the  animal  friezes  of  black- 
figured  ware,  is  represented  on  a  pillar  on  a  considerable  number  of  red- 
figured  vases;  often  there  is  nothing  to  decide  whether  it  is  theTheban 
sphinx  and  Oedipus,  or  a  sphinx  dedicated  on  a  pillar,  or  a  grave  monu- 
ment. On  the  present  vase  the  conventional  three  steps  of  the  grave 
monument,  and  the  foliage  which  is  of  the  same  type  as  that  by  a 
tumulus  on  the  following  lekythos,  leave  no  doubt  that  we  are  dealing 
with  a  tomb  scene.  On  a  krater  in  Florence4  we  actually  find  the  sphinx 
on  top  of  a  tumulus.  In  this  last  instance  there  would  seem  to  be  no 
question  that  the  sphinx  is  not  a  monument  proper,  but  one  of  those 
spirits  that  haunt  graves.5  On  the  Athenian  lekythos,  on  the  other 

1  C  V  no.  49,  Athens,  Nat  Mus.  1818  ;  no.  50,  Brit.  Mus.  057. 

2  Athens,  Nat.  Mus.  1271,  Cv.  1377. 

8  E.g.  B  IV,  i,  no.  25,  Athens,  Nat.  Mus.  1826;  B  IV,  3,  no.  2,  Athens,  Nat.  Mus.  1847. 

*  Figured  by  Miss  Harrison,  Prolegomena  to  Greek  Religion,  p.  an,  fig.  45. 

6  On  the  sphinx  as  a  funeral  monument  at  Pompeii,  see  Overbeck,  Pompeii,2  II,  S.  33,  fig.  23. 


GROUP   D:   CLASS   VII,  i,  13-18  299 

hand,  the  sphinx,  like  the  siren,  has  become  a  mere  monument,  sym- 
bolizing perhaps  the  fact  that  death  is  separation  and  sadness. 

15.  Athens,  Nat.  Mus.   1876  (Coll.  633),  Cv.   1053.     H.  0.15  m. 
Benndorf,  Griech.  Sic.   Vas.  Taf.  xxiv,  2. 

Ornament  typical;    drawing  hasty. 

In  front  of  a  large  tumulus  stands  a  woman  closely  draped  in  chiton  and  himation 
and  wearing  her  hair  in  a  cloth;  in  her  right  hand  which  just  emerges  from  the  garment 
she  holds  a  flower  (?)  to  her  nose.  From  the  top  of  the  tumulus  behind  her  hangs  a 
taenia,  in  form  somewhat  like  a  purse;  on  either  side  of  it  are  bushes  in  fruit  and  foliage. 

16.  Athens,  Nat.  Mus.  1915,  Cv.  1072.    Ceramicus.     H.  0.19  m. 
AcXn'ov,  1892,  a:  12,  41. 

The  second  maeander  (below  the  scene)  and  the  purple  lines  on  the  black  below  are 
missing. 

The  scene  is  the  same  as  on  the  preceding,  except  that  the  flower  and  the  taenia  are 
missing;  the  work  is  more  careless. 

It  will  appear  in  the  discussion  of  lekythoi  in  a  later  series  of  the 
present  group  that  a  figure  represented  in  front  of  a  stele  or  tumulus  is 
often  a  conventional  representation  of  a  relief.  By  itself  there  is  noth- 
ing to  decide  in  the  present  instance  whether  this  woman  is  a  mourner 
at  the  tomb,  or  a  person  inside  the  tomb,  or  a  statue  which  takes  the 
place  of  the  stele  shown  in  the  following  numbers,  or  a  relief;  the  ges- 
ture is  hardly  that  of  a  visitor  to  the  tomb,  however,  and  it  seems  most 
natural  to  regard  this  figure,  like  the  ones  to  be  considered  later,  as 
intended  for  a  relief.  The  object  hanging  from  the  tumulus  is  hardly 
intelligible  to  us,  if  it  was  to  the  painter  of  this  lekythos;  to  judge  from 
other  vases  with  the  same  scene,1  the  type  which  was  in  the  painter's 
mind  had  a  taenia  here. 

17.  Athens,  Nat.  Mus.  1861  (Coll.  642),  Cv.  1043.     H.  0.23  m. 

Ornament  typical;    drawing  in  rather  fine  lines. 

At  the  left  is  a  slender  stele  with  triangular  top  in  front  of  a  tumulus,  from  both  of 
which  hang  wide  taeniae. 

At  the  right  a  youth  hastens  away  and  looks  back,  tearing  his  hair  with  his  right 
hand ;  he  wears  petasos  (down),  chlamys,  and  high  laced  boots;  in  his  left  hand  he  carries 
two  spears  on  which  the  thong  for  throwing  may  be  distinguished. 

18.  Athens,   Nat.   Mus.    1986,   Cv.    1071.     Eretria.     H.   0.22   m. 
A€\TIOI>,  1889,  <r.  228,  7. 

Ornament  typical,  work  careless. 

At  the  left  is  a  stele  in  front  of  tumulus,  hung  with  taeniae,  as  on  the  preceding  vase, 

1  E.I.  A  HI,  no.  59,  Athens,  Private  Collection  ;  C  V,  no.  18,  Athens,  Nat.  Mus.  1789. 


300  ATHENIAN  WHITE   LEKYTHOI 

A  woman  wearing  sleeveless  chiton  ungirded  stands  looking  at  the  tomb  and  tears 
her  hair  with  both  hands.  Her  legs  are  very  short.1 

19.  Athens,  Nat.  Mus.  1875  (Coll.  658),  Cv.  1040. 

A  space  is  left  for  the  maeander,  but  it  was  never  put  in;  purple  lines  on  the  black 
below;  neck  broken. 

At  the  left  a  stele  is  seen  in  front  of  tumulus,  hung  with  taeniae,  as  on  the  previous 
specimens. 

Before  it  stands  a  woman  holding  out  a  taenia  in  both  hands;  she  wears  chiton 
and  himation;  her  hair  is  held  by  a  taenia. 

The  combination  of  tumulus  and  stele  in  front,  which  occurs  fre- 
quently on  the  lekythoi  of  the  following  series  also,  has  already  been 
discussed  in  connection  with  several  vases  of  Class  V;2  these  small 
lekythoi  are  connected  at  this  point  also  with  the  large  fine  specimens 
with  glaze  outline  on  a  pure  white  surface.  The  expression  of  grief 
on  nos.  17  and  18,  however,  carries  us  further  back,  viz.  to  Class  III.3 
Only  occasionally  does  the  lekythos  maker  permit  himself  the  genuine 
expression  of  grief  without  reserve,  and  this  occurs  generally  on  the 
small  lekythoi  which  can  lay  no  claim  to  artistic  merit;  the  finer 
lekythoi,  like  the  stone  grave  stelai,  reveal  honor  and  respect  for  the 
dead  rather  than  sorrow.  The  youth  who  hastens  away  from  the  tomb 
and  yet  looks  back  is  an  interesting  adaptation  of  the  schema  often 
noted  (e.g.  nos.  5,  6,  and  7)  which  up  to  this  time  has  had  no  connec- 
tion with  the  tomb. 

20.  Athens,  Nat.  Mus.  1808  (Coll.  660),  Cv.   1042.     Salamis.     H. 
0.19  m. 

Ornament  typical;    work  careless. 

A  rather  broad  stele  with  square  top  is  ornamented  with  one  taenia. 
A  woman  in  chiton  and  himation  brings  a  (myrtle)  wreath  which  she  is  about  to  lay 
on  the  steps;    her  hair  is  covered  by  a  cloth. 

21.  London,  Brit.  Mus.  D  38.     H.  9  in.     Cat.  Vases,  III,  pi.  xxiv,  2. 

Ornament  typical;  the  maeander  of  the  foot  of  the  picture  covers  the  lower  part  of 
the  scene,  no  space  having  been  left  for  it  by  the  painter. 

At  the  right  a  small  stele  stands  on  four  high  steps;  on  the  upper  step  is  a  wreath, 
and  a  taenia  is  tied  about  the  shaft. 

A  bearded  man  wearing  a  himation  leans  forward  on  a  stick  under  his  left  shoulder; 
in  his  left  hand  he  carries  sealed  tablets  ( ?),  with  his  right  he  is  placing  another  wreath 
on  the  stele. 

1  D  VII,  2,  no.  1 8,  Athens,  Nat.  Mus.  1780,  woman  kneeling  before  a  stele. 

2  C  V,  no.  22,  Athens,  Nat.  Mus.    1935  ;  no.  28,  Athens,  Nat.   Mus.    1789  (stele  behind);  C  VI, 
2,  no.  12,  Brit.  Mus.  D  56. 

8  Cp.  A  III,  no.  59,  Athens,  Private  Collection. 


GROUP   D:   CLASS   VII,  i,  19-22  301 

In  the  type  of  scene  as  well  as  in  the  form  chosen  for  the  stele 
these  two  lekythoi  are  very  similar.  Evidently  no.  21  was  made  by 
a  potter  trained  in  this  style  of  vase  painting;  at  the  same  time  he  is 
not  satisfied  with  the  humbler  products  to  which  he  is  accustomed,  and 
here  tries  to  produce  something  larger  and  finer.  The  bearded  man 
reproduces  a  type  already  noted,1  though  here  his  garment  is.  arranged 
as  though  he  were  not  leaning  forward  on  his  staff.  The  wreath,  which 
on  no.  20  occurs  once  and  on  no.  21  twice,  has  been  found  first  on  altar 
scenes,2  then  on  baskets  carried  to  the  grave;3  it  is  used  here  in  a  manner 
exactly  similar  to  that  on  a  vase  of  Group  C,4  as  though  the  painter  at 
this  point  again  had  in  mind  the  work  of  makers  of  that  kind  of  leky- 
thoi. The  tablets  which  the  man  carries  in  his  other  hand,  if  this  be 
the  correct  interpretation,  are  found  only  on  two  other  specimens 
of  the  lekythoi  drawn  in  glaze  outline.5 

22.    Athens,  Nat.  Mus.  Case  71,  Grave  2598. 

Ornament  typical,  except  that  the  maeander  below  the  scene  seems  never  to  have 
been  put  in. 

At  the  right  is  a  slender  stele  on  three  steps,  surmounted  by  egg-pattern,  scrolls,  and 
a  diminutive  palmette. 

A  woman  in  partial  profile  brings  in  both  hands  a  basket  of  taeniae  to  the  grave; 
she  wears  a  sleeve  chiton  of  striped  material  girded  over  the  overfold. 

The  slender  stele  surmounted  by  scrolls  and  palmette,  which  has 
been  seen  already  on  a  lekythos  of  Group  C,6  is  not  found  again  on 
the  lekythoi  grouped  under  Class  VII;  nor  does  the  striped  chiton  7 
occur  again  until  Class  VIII.8  The  three  lekythoi  exhibited  in  case  71  * 
present  one  peculiarity  in  common,  —  in  each  instance  the  woman  is 
drawn  in  partial  profile.  This  position  is  definitely  avoided  on  leky- 
thoi of  Group  B  and  on  several  of  the  series  under  Group  C;  on  the 
other  hand,  it  is  the  more  usual  position  on  red-figured  vases  of  the 
same  period.  Apparently  these  three  lekythoi  were  produced  by  a 
man  who  was  not  wholly  under  the  sway  of  earlier  outline  drawing 
types;  he  may  have  been  accustomed  to  make  red-figured  lekythoi 
rather  than  white  lekythoi. 

Of  the  twenty-two  specimens  described  under  this  series  it  will  be 
seen  that  one  each  comes  from  Eretria,  from  Salamis,  and  from  Mara- 

1  Cp.  B  IV,  i,  no.  ia,  Brit.  Mus.  D  15.  •  E.g.  B  IV,  a,  no.  14,  Athens,  Nat.   Mus.   1919. 

*  E.g.  B  IV,  i,  no.  ii,  Brit.  Mus.  D  14.          *  C  V,  no.  11,  Athens,  Nat.  Mut.  1935. 

*  C  VI,  i,  no.  6,  Athens,  Nat.  Mus.  1761  ;  no.  10,  Boston,  P.  8440. 

*  C  VI,  i,  no.  11,  Athens,  Nat.  Mus.  1843.     •  E.g.  D  VIII,  i,  no.  4,  Athens,  Private  Collection. 
7  Cp.  A  III,  no.  66,  Brit.  Mus.  D  19,  etc.          »  No.  8  and  ti  above. 


302  ATHENIAN  WHITE   LEKYTHOI 

thon;  the  remainder,  so  far  as  their  provenance  is  known,  come  from 
Athens  or  its  vicinity.  The  series  is  distinguished  by  one  mark; 
namely,  the  second  maeander,or  space  for  a  maeander,  below  the  scene. 
The  ornamentation  in  other  respects  is  very  similar.  All  have  the 
red  neck  and  two  rows  of  bars  on  the  shoulder,  the  purple  lines  on  the 
black  below  the  second  maeander,  and  almost  all  have  the  same  type 
of  foot.  In  a  word,  the  second  maeander  is  no  casual  mark,  but  it 
serves  to  bring  together  a  definite  series.  The  scenes  which  appear 
do  not  differ  materially  from  those  on  lekythoi  of  series  2.  As  may  be 
expected,  that  series  is  less  homogeneous;  for  it  includes  all  that  lack 
the  second  maeander.  The  present  series,  however,  must  have  come 
from  one  period  and  one  group  of  potters,  possibly  all  from  one  shop. 
It  has  appeared,  further,  that  on  these  lekythoi  the  drawing,  while  in 
most  instances  hasty  if  not  careless,  is  ordinarily  of  a  good  period,  a 
period  which  may  be  defined  somewhat  accurately  by  its  relation  to 
the  scenes  on  Class  III  and  Class  V.  The  nature  of  the  drawing  and 
the  limited  number  of  types  suggest  that  these  small  lekythoi  are  not 
experiments  or  by-products  of  the  shops  where  the  large  fine  lekythoi 
were  made.  They  are  rather  the  output  of  shops  which  aim  to  produce 
just  this  article  in  quantity  to  meet  a  particular  demand.  The  scenes 
themselves  will  best  be  considered  after  series  2  has  been  described. 


Series  2.    No  maeander  below  the  scene 

The  present  series  differs  from  the  preceding  one  in  the  absence 
of  the  lower  maeander;  it  includes  also  lekythoi  which  have  other 
minor  differences,  such  as  a  different  type  of  foot  and  a  black  below 
the  scene  unbroken  by  purple  lines;  the  type  of  drawing  and  the 
scenes  represented,  however,  are  much  the  same. 

i.  New  York,  Metrop.  Mus.  Inv.  06,  1021,127.  H.  0.235  m- 
Canes sa  Sale  Catalogue,  70.  Plate  X,  2. 

Typical  bars  on  the  shoulder  and  simple  maeander.  Drawn  in  yellow  glaze  on  a 
thick  chalky  slip. 

At  the  left  a  warrior  is  charging  toward  the  right  with  a  sword  in  his  lowered  right 
hand,  and  his  chlamys  over  his  extended  left  arm.  He  wears  high  boots  and  on  his 
shoulder  is  a  petasos. 

In  front  of  him  at  the  right  is  a  low  broad  stele  with  simple  triangular  top. 

The  scene  of  a  warrior  charging  has  been  discussed  in  connection 
with  the  first  three  vases  of  series  I  in  the  present  class.  It  is  the  same 


GROUP    D:   CLASS    VII,  2,   1-3  303 

figure  on  this  vase,  but,  curiously  enough,  the  painter  has  taken  it  out 
of  its  proper  setting  and  used  it  as  a  figure  at  the  tomb.  One  finds 
first  the  warrior  charging  toward  a  serpent,  then  the  warrior  used  alone 
as  a  purely  decorative  figure,  and  finally  this  decorative  figure  replac- 
ing the  man  or  woman  engaged  in  worship  at  the  grave.  It  is  only 
necessary  to  recall  the  intermediate  stage,  the  use  of  the  figure  in  a 
purely  decorative  manner,  to  understand  that  one  cannot  look  for  any 
particular  meaning  in  the  charging  warrior  on  this  vase.  In  his  effort 
for  variety  the  painter  has  simply  drawn  in  a  figure  which  already  had 
lost  its  meaning  and  which  can  have  no  meaning  here.  The  limited 
number  of  figures  at  the  disposal  of  the  lekythos  painter  is  the  only 
excuse  for  such  a  course. 

ia.  Athens,  Nat.  Mus.  1783,  Cv.  1047.  H.  0.21.  Festschrift  fur 
O.  Benndorf,  S.  92,  2. 

Foot  as  in  series  I ;    purple  lines  beneath  the  white  slip. 

A  woman  wearing  sleeve  chiton  and  himation  moves  toward  the  right  and  looks 
back;  in  her  right  hand  behind  her  is  a  mirror,  on  her  left  hand  in  front  a  basket;  on 
her  head  she  wears  a  wreath.1 

2.  London,  Brit.  Mus.  D  40.     H.  yj  in. 

Foot  simple;   lines  once  purple  (?)  below  the  white  slip. 

At  the  left  a  girl  in  chiton  (girded  twice)  dances  toward  the  right,  looking  back  and 
extending  a  pair  of  castanets  in  each  hand;  her  hair  is  in  a  knot  at  the  back  of  her  head. 
A  chair  stands  facing  her;  on  its  seat  is  her  mantle  rolled  in  a  bundle.2 

3.  Bologna,    Mus.    Civ.    Pell.    355.     Heydemann,    Hall.    W'mck. 
progr.  S.  56,  i365,Taf.  i,  4. 

No  lines  on  the  black  below  the  white  slip. 

A  Bacchante  dances  to  right,  throwing  her  skirts  into  the  air,  and  looks  back;  she 
wears  a  chiton  the  sleeves  of  which  have  been  extended  to  cover  her  hands;  over  this  a 
leopard  skin  is  girded  about  her  waist  and  fastened  over  one  shoulder;  her  hair  is  rolled 
in  a  knot  at  the  back  of  her  head. 

This  dancing  figure  is  as  unusual  on  white  lekythoi 3  as  it  is  common 
on  red-figured  vases.  The  maenad  covering  her  hands  with  her  gar- 
ment (himation  ?)  as  she  dances,  is  found  with  two  satyrs  on  a  black- 
figured  lekythos  of  relatively  late  date  in  the  British  Museum;4  on 
small  red-figured  lekythoi  the  maenad  alone  is  found  occasionally 

1  Cp.  Athens,  Nat.  Mus.  1176,  Cv.  1380;   1178,  Cv.  1381. 

s  Cp.  girl  with  castanets  on  a  red-figured  lekythos,  Brit.  Mus.  E  641,  and  E  357. 

*  Cp.  A  HI,  no.  8,  Girgrnti. 

*  Brit.  Mus.  B  645,  black  on  a  drab  ground. 


304  ATHENIAN  WHITE  LEKYTHOI 

with  the  sleeves  of  the  chiton  extended  to  cover  both  her  hands.1  In 
scenes  of  Bacchic  revelry  the  maenad  dancing  with  satyrs  not  infre- 
quently has  one  or  both  arms  covered  in  this  manner  with  the  extended 
sleeves  of  the  chiton.2  The  castanets  also  find  their  proper  place  in 
Bacchic  worship;3  perhaps  the  girl  on  no.  2  should  also  be  termed  a 
maenad. 

3a.  New  York  Metrop.  Mus.  1822.  H.  0.158  m.  Am.  Jour.  Arch. 
II  (1886),  p.  397,  no.  6;  pi.  xii,  fig.  3. 

On  the  shoulder  are  the  typical  bars;  the  simple  maeander  above  is  reversed.  Slip 
brownish  (as  the  result  of  fire  ?).  The  scene  is  drawn  in  dark  brown  glaze  with  yellow 
inner  markings,  especially  for  the  abdomen.  Below  the  scene  is  a  reserved  red  line. 

A  youth  with  both  hands  raised  runs  away  from  a  serpent  and  looks  back  at  it. 

4.  Athens,  Private  Collection. 

Neck  white;  shoulder  red  with  five  rude  palmettes;  three  purple  lines  on  the  black 
below  the  slip. 

At  the  left  a  youth  pursues  a  woman.  She  runs  toward  the  right  and  looks  back. 
The  treatment  of  the  hair  and  the  full  fold  of  the  skirt  behind  is  in  the  style  of  Class  IV. 

The  combination  of  the  white  neck  and  the  red  shoulder  is  enough 
in  itself  to  mark  this  vase  as  an  experiment;  it  is  included  here  for 
convenience,  though  it  does  not  come  under  any  class  with  other  leky- 
thoi.  All  the  elements  of  the  vase,  however,  are  found  on  one  lekythos 
or  another.  The  white  neck  has  been  noted  several  times;  the  five 
rude  palmettes  occur  on  lekythoi  under  Class  III,  and  a  similar  scene 
occurs  once  under  Class  III.4  In  other  words  it  is  an  experiment  by 
a  lekythos  painter,  or  by  some  one  who  is  imitating  his  methods. 

5.  Athens.     Atken.    Mittb.    XVII,    S.    434,    Taf.    i,    I.     Athens. 
H.  0.23.      Klein,  Lieblingsinscbriften,  S.  154. 

Ornament  typical;  purple  lines  on  black  beneath  the  slip  are  lacking;  slip  slightly 
yellowish.  Of  the  man's  figure  hardly  more  than  "vorgeritzte  Umrisse"  remain.  The 
camel's  skin  is  given  by  broad  strokes  of  thin  glaze. 

On  a  Bactrian  camel  facing  toward  the  left  sits  en  face  a  bearded  man  in  Persian  cos- 
tume, pointing  back  with  his  right  hand.  Inscription  KAAOs 

M|KOH/. 

This  interesting  lekythos  was  found  in  a  grave  apparently  of  the 
fourth  century  B.C.  in  the  vicinity  of  the  German  Institute  in  Athens. 

1  E.g.  Brit.  Mus.  E  590.     The  figure  is  in  just  the  same  dress  and  attitude  as  on  the  Bologna  lekythos, 
but  a  thyrsos  which  she  has  just  dropped  is  added. 

2  Hartwig,  MeisterscAalen,  Taf.  xxxii,  kylix  of  Brygos  in  Paris  ;  Taf.   xliii,  "  Meister  mit  dem   Kahl- 
kopf "  in  the  British  Museum,  E  75.      Cf.  also  Gerhard,  Trinksch.  und  Gef.  Taf.  vi-vii,  I   and   2  ;   Arch. 
Zen.  1872,  Taf.  Ixx  ;  and  Heydemann,  Die  -verhiillte  TiiKzerin. 

8  Gerhard,  Trinksch.  und  Gef.  Taf.  vi-vii,  2.  *  A  III,  no.  62,  Athens,  Nat.  Mus.  1978. 


GROUP   D:   CLASS   VII,  2,  33-6  305 

With  it  were  several  red-figured  lekythoi  which  are  also  published  in 
the  Mittbtilungen,  Vol.  XVII.1  On  a  red-figured  aryballos  in  the 
British  Museum  a  similar  figure  in  Persian  costume  is  seen  riding  on 
a  camel  and  pointing  backward,  while  attendants  in  like  attire  precede 
and  follow.2  Although  it  is  usually  termed  a  Dionysiac  scene,  there 
is  little  or  nothing  to  mark  it  as  such.  On  a  vase  by  Laches  a  figure 
in  the  same  attitude  rides  on  a  mule;  *  finally  on  an  amphora  in  Wiirz- 
burg  Dionysos  rides  on  a  white  bull  in  just  this  attitude,  pouring  from 
a  kantharos  in  the  hand  held  back.4  The  camel  rider  on  the  British 
Museum  aryballos  may  best  be  understood  as  some  oriental  magnate 
attended  by  his  followers;  the  present  scene,  which  is  but  an  excerpt 
from  such  a  procession  as  that  on  the  aryballos,  will  then  be  under- 
stood in  the  same  way.  Like  the  maenad  on  no.  3,  the  camel  rider  has 
been  isolated  to  meet  the  demand  for  a  single  figure  on  vases  of  this 
type.  Such  scenes  not  treated  on  other  outline  lekythoi  go  to  prove 
that  vases  of  the  present  class  form  the  best  product  of  the  shops  that 
made  them;  they  are  not  hasty  specimens  produced  by  potters  who 
were  accustomed  to  make  such  lekythoi  as  those  of  Group  C. 

6.  Berlin,  Furtw.  2248.  Athens.  H.  0.245  m-  Benndorf,  Griech. 
Sic.  Vas.  Taf.  xxvii,  2. 

Shoulder  typical;  foot  of  the  type  common  later;  instead  of  purple  lines  on  the  black 
beneath  the  slip  there  are  incised  lines  showing  the  red  of  the  clay.  Thin  red  is  used  for 
the  flame. 

Iris  slowly  approaches  a  stone  block  (altar)  on  which  a  fire  is  burning,  and  holds 
over  it  a  kerykeion  in  her  left  hand  and  rests  her  right  hand  on  her  hip;  she  wears  a 
short  sleeveless  chiton  girded;  her  large  wings  are  raised  behind  her,  and  there  are 
little  wings  attached  to  her  boots;  a  taenia  holds  her  hair  in  a  flat  knot  at  the  back  of 
her  head. 

On  one  other  of  the  lekythoi  considered  in  this  paper  is  found  a 
female  figure  with  kerykeion,  probably  an  Iris.5  With  reference  to 
the  present  vase  there  is  no  doubt  as  to  her  identity.  While  Iris  is 
more  commonly  represented  on  red-figured  vases  as  wearing  long  gar- 
ments, a  figure  only  to  be  distinguished  from  Nike  by  the  attributes 
she  carries  in  her  hands,8  more  than  once  she  has  just  the  same  garment 

1  Also  the  lekythos  described  above,  A  III,  no.  17. 

2  Brit.  Mus.  E  695,  Man.  Intt.  I,  Tav.  L;  Arch.  Zeit.  1844,  Taf.  14, 

*  Hartwig,  Mtitterukaleii,  Taf.  buii. 

*  Wiiraburg,  87,  Urlichs,  p.  10. 

*  A  III,  no.  14,  Brit.  Mus.  D  31 ;  the  only  question  is  as  to  the  tex  of  the  figure. 

*  E.g.  Munich,  Jahn,  191,  Gerhard,  Aut.  fate*.  Taf.  Ixxsiii ;   Brit.  Mm.  E  65,  a  rise  of  Brygos  on 
which  Iris  (so  labelled)  appears  in  connection  with  a  Dionysiac  sacrifice. 

X 


306  ATHENIAN  WHITE   LEKYTHOI 

and  winged  boots  as  here.1  The  winged  boots  go  with  the  short  gar- 
ment, in  that  both  emphasize  the  function  of  the  goddess  as  a  mes- 
senger. But  in  the  present  scene  Iris  is  not  a  messenger;  like  Nike, 
she  is  here  the  servant  of  the  gods  at  a  sacrifice.  It  would  seem  that 
Nike,  or  a  winged  figure  with  no  attribute  to  distinguish  her  from  Nike, 
has  ordinarily  usurped  a  function  that  more  properly  belongs  to  Iris.2 
Indeed,  Iris  may  often  have  been  in  the  mind  of  the  painter,  though  it 
seems  fairer  to  use  the  name  Nike,  both  because  the  inscription  some- 
times gives  this  name  and  because  Nike  does  tend  to  supplant  all 
other  winged  female  figures  and  to  lose  her  own  distinctive  nature. 

7.  Athens,  Private  Collection.     Athens.     H.  to  shoulder  0.12  m. 

No  purple  lines  below  the  white  slip,  but  a  wide  line  of  the  (clay)  red  is  left  exposed. 
In  a  chair  facing  toward  the  right  sits  a  woman  leaning  forward  and  holding  a  cord 
between  her  fingers.     The  head  is  very  narrow  from  front  to  back. 

8.  London,  Brit.  Mus.  D  37.     H.  7!  in. 

Shoulder  typical;  the  maeander  seems  to  be  in  a  dull  brown;  drawn  in  rather  fine 
lines  which  are  hardly  as  shiny  as  the  lines  enclosing  the  maeander. 

At  the  left  a  pithos  is  half  buried  in  the  ground,  the  left  side  of  it  cut  ofF  by  a  line 
ending  at  the  lip.  At  the  right  a  naked  youth,  his  left  foot  in  the  air,  has  plunged  his 
head  and  arms  into  the  pithos. 

Large  pithoi  of  this  character  were  half  buried  in  the  ground  for 
the  purpose  of  storing  wine,  oil,  grain,  etc.3  On  vase  paintings  it  is 
seen  in  the  familiar  picture  of  Eurystheus  trying  to  escape  Cerberus.4 
This  youth,  like  the  satyr  on  a  red-figured  lekythos  in  Karlsruhe,  is 
reaching  down  to  fill  a  vessel  with  some  of  the  wine  in  the  bottom  of 
the  pithos.5  The  appearance  of  this  scene  on  a  white  lekythos  is  to 
be  noted  as  one  of  the  cases  now  becoming:  rare  in  which  a  scene  from 

O 

red-figured  ware  is  repeated  on  vases  of  this  type. 

9.  Jena,  Univ.  Mus.  461.     Athens.     Original  height  about  0.25  m. 
Miinsterberg,   Arch.   Epigr.  Mitteilungen,  XV,    135.     Schadow,  Eine 
attische  Grablekythos,  fig.  I. 

Ornament  typical,  but  no  purple  lines  on  the  black  beneath  the  white  slip. 

At  the  right  a  large  pithos  is  half  buried  in  the  ground;  one  little  i/'ux7?  ls  entering 
it,  a  second  just  emerging,  and  two  others  are  flying  above.  At  the  left  Hermes,  the  kery- 
keion  in  his  left  hand,  holds  his  rhabdos  over  the  pithos.  He  wears  chlamys,  a  conical 
cap,  and  high  boots. 

1  Roscher,  Lexikon,  II,  103,  from  Gerhard,  Aus.  Vascn.  Taf.  xlvi,  Iris  as  messenger  at  the  contest  of 
Apollo  and  Idas  for  Marpessa  (?)  ;   Roscher,  Lexikon,  II,  330;  Annali  1878  G,  a  skyphos  from  Ruvo  in  the 
collection  Jatta. 

2  Cf.mpra,  p.  41  f.  8  E.g.  a  krater  in  Bologna,  Mus.  Ital.  II,  23,  (87). 

*  E.g.  a  hydria  in  the  Louvre,  Man.  Inst.  VI-VII,  Tav.  xxxvi.  6  Karlsruhe,  Winnefeld,  219. 


GROUP  D:  CLASS  VII,  2,  7-8  307 

The  pithos  buried  in  the  ground  also  served  as  a  place  of  burial; 
sometimes  it  was  completely  buried  and  served  as  a  sort  of  sarcophagus,1 
sometimes  it  projected  from  the  ground  and  was  decorated  as  a  sort 
of  grave  monument.2  Perhaps  the  scene  on  a  jar  in  the  Hermitage 
Museum 3  is  to  be  explained  from  this  standpoint.  Between  two 
centaurs  is  a  huge  half-buried  pithos  from  which  Herakles  has  just 
lifted  the  wrapped-up  body  of  a  child;  on  the  wrappings  is  depicted 
a  serpent.  This  pithos  had  served  as  a  place  of  burial  for  a  child. 
The  serpent  is  simply  the  representation  of  the  soul  of  the  child,  hover- 
ing about  the  place  of  burial.4  On  the  Jena  lekythos  the  pithos  evi- 
dently takes  the  place  of  the  tomb,  and  souls  hover  about  it  as  about 
other  grave  monuments,  except  that  here  the  souls  are  going  in  and 
coming  out  of  the  entrance.  The  conception  of  an  entrance  to  the 
lower  world  through  which  souls  may  come  and  go  is  familiar  enough 
in  Greek  thought,  and  Hermes  is  their  conductor,  Psychopompos.5 
Nor  is  there  any  question  as  to  the  occasion  when  Athenians  thought 
that  souls  had  this  liberty;  the  belief  is  intimately  connected  with  the 
festival  of  the  Anthesteria.  We  may  now  ask  why  a  pithos  was  chosen 
to  indicate  the  entrance  by  which  they  came  and  returned.  Why  else 
than  that  the  first  day*of  the  Anthesteria  was  known  as  the  Pithoigia, 
for  on  this  day  the  pithoi  of  Dionysos  were  opened  ?  That  name  served 
to  recall  an  old,  in  Athens  long  disused,  form  of  burial,  and  the  lekythos 
is  evidence  that  in  popular  thought  the  opening  of  one  kind  of  pithoi 
suggested  the  opening  of  burial  pithoi  as  an  easy  and  natural  method 
for  souls  to  come  and  go.  I  cannot  find  in  the  picture  under  considera- 
tion even  a  slender  argument  to  prove  that  the  Pithoigia  was  originally 
anything  else  than  a  rite  connected  with  the  religion  of  Dionysos. 
There  is  absolutely  no  evidence  that  the  pithoi  were  so  connected  with 
burial  that  this  name,  Pithoigia,  would  naturally  have  arisen  to  denote 
the  evocation  of  souls.8 

10.    Karlsruhe,  B.  2663.     H.  0.23  m.     Plate  XIV,  4. 

The  lines  on  the  shoulder  have  nearly  disappeared;  foot  as  in  series  I;  drawn  in 
coarse  lines  of  gray-yellow  glaze. 

At  the  left  are  reeds  about  the  high  stern  of  a  boat,  its  oars  in  the  oarlocks.  Charon 
stands  with  his  left  hand  on  the  stern,  his  right  on  a  high  pole;  he  wears  a  short  chiton 
and  belt  and  has  a  petasos  at  the  back  of  his  head.  There  is  nothing  rude  or  repulsive 
about  his  face.  Toward  him  over  the  prow  of  the  boat  flies  a  soul  in  long  skirts. 

1  Atk.  Mink.  1893,  S.  99  and  118,  grave  X  ;  Schadow,  p.  8  f.  *  Schadow,  p.  10  f. 

*  Steph.  1171,  Comftei  renJut,  1873,  p.  91,  Atlai,  pi.  r. 

4  Cf.  serpent  and  soul  on  the  vase  published  in  the  M»n.  Inn.  VIII,  Tav.  viii. 

•  Odyss.  xxir,  if.  •  At  Mia  Harrison  suggest*,  Prolegomena  to  tkt  StmJy  tf  Grttk  Re.'igi»m,  42  f. 


3o8  ATHENIAN  WHITE   LEKYTHOI 

loa.    Oxford,  Ashm.  Mus.  (acquired  in  1899).     H.  0.24  m. 

The  typical  ornament  is  in  nearly  black  glaze;  the  lines  of  the  scene  vary  from  yellow 
to  black. 

At  the  left  are  reeds  about  the  high  stern  of  a  boat;   no  oars  are  given. 

Charon  with  his  pole  in  his  left  hand  seems  to  be  moving  toward  the  right  in  the 
boat  and  extends  his  right  hand  toward  a  soul  in  long  skirts  which  flies  to  meet  him  with 
hands  stretched  out  toward  him.  He  wears  a  pilos  and  a  short  chiton  girded  up;  there 
is  nothing  repulsive  about  the  face. 

11.  Athens,  Dealer's  Shop.     H.  about  0.25  m. 

Purple  lines  below  the  white  slip  have  disappeared;  drawn  in  rather  coarse  lines  of 
brownish  yellow  glaze. 

At  the  left  Charon  is  drawing  his  boat  to  shore  with  a  pole  in  both  hands.  He  wears 
a  short  chiton;  his  face  is  of  the  ruder  type.  In  front  of  him  a  soul  in  long  skirts  flies 
toward  him. 

At  the  right  a  woman  (?)  closely  draped  in  chiton  and  himation  stands  waiting  for 
Charon. 

12.  Oxford,    Ashm.    Mus.    Gard.    264.     Ceramicus,   Athens.     H. 
0.25  m. 

Ornament  like  the  previous  number. 

At  the  left  Charon  stands  in  a  boat  holding  a  pole  in  his  left  hand  and  extending  his 
right  hand;  he  wears  pilos  and  exomis.  A  soul  is  flying  toward  him  with  a  gesture  of 
mourning. 

At  the  right  a  youth  with  short  hair  stands  holding  out  his  right  hand;  he  wears  a 
chiton  and  himation. 

The  Charon  scene  was  discussed  in  connection  with  two  vases  of 
Class  V  1  and  one  of  Class  VI.2  In  these  cases  also  Charon  is  drawing 
his  boat  to  the  shore  to  receive  a  dead  person;  on  nos.  10  and  loa, 
however,  perhaps  he  is  about  to  push  his  boat  out  from  the  reeds,  as 
a  soul  flies  to  meet  him.  On  no.  n  the  Charon  is  of  the  same  rude 
realistic  type  as  on  the  lekythoi  of  Classes  V  and  VI;  on  the  other 
hand  the  Charon  of  nos.  10  and  loa  is  reduced  to  the  conventionalized 
type  of  bearded  man  found  on  other  lekythoi  of  the  present  class.  The 
two  types  of  Charon  on  later  vases  are  perhaps  due  to  this  early  waver- 
ing between  the  individual  Charon  and  the  general  bearded  man  serving 
as  Charon.  That  the  Charon  scene  occurs  on  these  lekythoi,  more- 
over a  Charon  scene  of  the  same  character  as  that  found  in  Group  C, 
indicates  that  at  least  a  part  of  Group  D  is  parallel  in  time  to 
Group  C.  At  the  same  time  the  drawing  as  well  as  the  technique 

1  C  V,  7,  Munich,  209 ;  C  V,  8,  Boston,  6545. 

2  C  VI,  I,  no.  7,  Berlin,  Inven.  3160. 


GROUP   D:   CLASS   VII,  2,  103-15  309 

show  that  we  are  dealing  with  an  entirely  different  industrial  current 
here. 

The  type  of  soul  has  already  been  discussed  in  connection  with  the 
Boston  Charon  scene.1  On  these  vases  we  find  the  same  type  as  there, 
a  winged  figure  larger  than  became  usual  on  later  lekythoi,  with  large, 
broad  wings  like  those  of  Nike,  and  clothed  in  a  long  chiton  as  was 
Nike.  On  the  Jena  lekythos  just  discussed  (no.  9)  the  garment  is 
entirely  lacking,  but  the  wings  are  of  the  same  type;  those  are  souls 
that  have  been  in  Hades  and  have  returned,  it  would  seem  that  these 
souls  are  in  closer  contact  with  this  world  so  that  they  still  wear  human 
clothing. 

13.  Athens,    Nat.    Mus.    2030,   Cv.    1059.     H.    0.23    m.     Pettier, 
Lecythes  blancs,  p.   145,  44.      Festschrift  fur  0.  Benndorf,  S.  92,  4. 

Shoulder  and  maeander  as  usual;    foot  as  in   series  I. 

A  woman  advances  to  the  right,  carrying  on  her  head  a  large  basket  of  taeniae;  she 
wears  chiton  and  himation  which  covers  both  shoulders;  in  one  hand  she  holds  a 
flower  (?). 

14.  Paris,  Cab.  Med.  77,  de  Ridder,  498.     H.  0.24  m.     Gaz.  Arch. 
1885,  p.  279;   de  Ridder,  Catalogue,  pi.  xx. 

Shoulder  as  usual;   maeander  above  is  black;   foot  as  in  series  I;   coarse  style. 
A  woman  advances  to  the  right,  carrying  on  her  head  a  basket  which  she  steadies 
with  her  left  hand;   in  her  right  hand  she  holds  out  a  wreath  of  leaves. 

The  picture  of  a  woman  preparing  a  basket  to  carry  to  the  grave 
or  carrying  the  basket  in  her  hands  is  one  of  the  commoner  scenes  in 
each  class  of  lekythoi;2  it  may  be  regarded  as  a  trace  of  literalism 
here  that  the  basket  is  carried  on  the  head  rather  than  in  the  hands. 

15.  Paris,  Cab.  Med.  725,  de  Ridder  496.     Locri.     H.  0.195  m- 
Gaz.  Arch.  1885,  p.  282,  II ;  De  Luynes,  Vases  feints,  pi.  xvii;   Eranos 
Vindobonensis,  S.  39;    Roscher,  Lexikon,  III,  720,  no.  6;    Hartwig, 
Meisterschalen,  S.  644,  I. 

Shoulder  as  usual;  the  maeander  pattern  is  "abbreviated";  white  slip  hard  and 
shiny. 

At  the  left  a  sphinx  crouches  on  a  square  block  which  stands  on  a  base  of  three  steps. 

Opposite  it  an  ephebos  carrying  shield  (serpent  as  sign)  and  two  spears  stands  look- 
ing at  the  sphinx. 

In  some  instances  there  is  no  question  that  the  sphinx  and  ephebos 

i  C  V,  8,  Bo«on,  6545- 

1  E.g.  A  II,  19,  Athens,   Nat.  Mu».  1975  j  A  111,  ia,  Brit.  Mu«.  D  76$  B  IV,  i,  no.  ao,  Athen», 
Nat.  Mus.  1953. 


3io  ATHENIAN  WHITE   LEKYTHOI 

are  intended  to  mean  Oedipus  and  theTheban  sphinx; 1  in  others  the 
sphinx  is  to  be  regarded  rather  as  an  oracle; 2  finally  there  are  cases 
when  the  sphinx  may  be  a  grave  monument,  though  when  the  sphinx 
is  on  a  column  this  interpretation  does  not  seem  to  me  the  most  natural 
one.3  Perhaps  the  nearest  parallel  to  this  lekythos  is  a  vase  figured 
by  Tischbein  where  the  sphinx  stands  on  a  rock.4  Even  if  we  assume 
that  it  is  the  Theban  (oracular)  sphinx  that  is  figured  on  all  these 
vases,  the  sphinx  on  a  block  supported  by  three  steps,  which  we  find 
on  this  lekythos,  will  be  regarded  as  a  grave  monument.  This  would 
not  be  the  only  instance  when  the  lekythos  painter  has  adapted  some 
scene  from  red-figured  ware  in  such  manner  as  to  give  it  a  funerary 
meaning.  That  the  sphinx  was  a  symbol  used  in  connection  with  graves 
has  been  remarked  above.5 

16.  Bologna,  Mus.  Civ.  Pell  354.     H.  0.165  m. 

Shoulder  and  maeander  as  usual;  three  lines  now  white  on  the  black  beneath  the 
chalky  white  slip. 

At  the  right  is  an  Ionic  pillar.  Turning  away  from  the  pillar  and  seen  from  behind 
a  youth  leans  on  a  stick  which  holds  up  his  garment.  His  head  is  small;  the  hair  falls 
in  curls  about  his  neck. 

17.  Munich,  Jahn,  201.     H.  0.233  m- 

Lower  row  of  bars  on  the  shoulder  much  heavier  than  the  upper;  foot  as  in  series  I ; 
white  slip  apparently  covered  with  a  transparent  varnish  in  which  small  cracks  are 
visible. 

At  the  left  is  a  stele  with  round  top  adorned  with  a  taenia,  in  front  of  a  tumulus  on 
which  also  hangs  a  taenia.  Facing  this  and  seen  from  behind  is  a  youth  who  holds  his 
himation  around  his  body  and  under  his  left  arm.  The  figure  is  clumsy,  but  the  face  is 
drawn  with  more  care.  In  front  of  him  hangs  a  wreath. 

The  figure  of  a  man  leaning  on  a  stick  which  holds  up  his  garments 
has  been  noted  several  times  under  Groups  A  and  C; 6  this  figure  is 
often  drawn  as  seen  from  behind  on  earlier  red-figured  vases  and  in 
one  instance  it  is  so  drawn  on  a  lekythos  of  Class  III.7  The  connections 
pointed  out  between  the  present  group  and  groups  A  and  C  emphasize 
the  fact  that  Group  D  was  a  side  issue,  exercising  little  or  no  influ- 

1  Hartwig,    Meisterschalcn,    Ixxiii,    kylix    in    the    Vatican;     lekythos,    Boston    Museum,    P.   7614, 
OIAIPOY^  ;   CP-  the  gem  figured  by  Millin,  Gall.  myth.  138,  505,  and  supra,  p.  298. 

2  Annali,  1867,  p.  379,  Tav.  I  ;   Bull.  Nap.  IV,  p.  105,  Tav.  v. 

8  Vienna,  Masner,  336,  Man.  Inst.  VIII,  Tav.  xlv  ;  Tischbein,  III,  pi.  xxxiv. 

*  Tischbein,  II,  pi.  xxiv. 

6  Cf.  under  D  VII  I,  no.  14,  Athens,  Nat.  Mus.  1885. 

6  A  III,  no.  23,   Naples,  2432  ;  no.  43,  Bologna,  358  5    A  I,  nos.  1-3,  C  VI,  2,  no.  5,  Paris  Cab. 
Med.  504. 

7  Munich,  Jahn,  199,  A  III,  no.  55. 


GROUP   C:    CLASS  VI,    i,   7-9  263 

oblique  crosses.  Slip  dingy  white.  Drawn  in  fine  lines  of  black  glaze;  dark  red,  bright 
red,  and  dark  blue  are  used  for  garments  and  accessories;  the  hair  is  in  black  on  a  yellow 
ground.  Preliminary  sketch  in  transparent  shiny  lines.  The  shield  lines  are  heavily 
incised  with  compasses. 

On  two  steps  stands  a  stele  with  plain  square  top;  dark  red  and  light  red  taeniae  are 
fastened  about  the  shaft  and  laid  on  the  base. 

At  the  left  stands  a  woman  in  profile,  holding  up  a  wand  in  her  right  hand,  and 
carrying  an  oinochoe  in  her  left.  She  wears  a  sleeveless  chiton  with  parallel  light  red 
stripes,  and  a  dark  red  himation  draped  closely  about  her  (the  right  hand  is  restored  in 
dull  color). 

At  the  right  a  bearded  warrior  stands  in  profile  carrying  on  his  left  arm  a  large  shield 
(the  emblem  is  a  lion  drawn  in  dark  blue),  and  holding  out  a  Corinthian  helmet  in  his 
right  hand  (red  lines  along  the  upper  edge).  He  wears  a  dark  red  chlamys. 

The  fact  that  this  lekythos  shows  some  marks  of  restoration,  e.g. 
the  woman's  right  hand,  raises  suspicion  about  other  points.  The 
stripes  on  her  chiton  have  no  exact  parallel  in  the  present  group,  nor 
is  it  easy  to  understand  the  meaning  of  the  wand  in  her  hand  when  she 
naturally  would  hold  out  a  phiale  toward  the  warrior;  the  dark  blue 
of  the  lion  on  the  man's  shield  is  also  unique.  Both  the  stele  and  the 
nature  of  the  scene  are  closely  parallel  to  the  stele  and  the  scene  on 
no.  6.  We  find  here  the  same  arrangement  of  the  taeniae  on  the  shaft 
and  the  same  taenia  on  the  base.  And  here  also  it  seems  to  be  a  scene 
of  farewell  transferred  to  a  grave  monument,  with  a  stele  present  to 
indicate  beyond  a  doubt  the  purpose  for  which  the  vase  was  destined. 

9.    Boston,  Mus.  P.  7192.     H.  0.383  m.     Plate  XIII. 

The  body  of  the  vase  swells  slightly  below  the  shoulder.  On  the  shoulder  egg-pattern 
and  palmettes  in  dull  black,  bright  red  leaves  added  (the  drawing  is  rather  free).  The 
slip  is  covered  in  many  places  with  fine  cracks.  The  careful  complicated  maeander  in 
black  glaze  is  unbroken.  Drawing  is  in  fine  lines  of  brown  glaze.  Light  red,  dark 
red,  and  scarlet  are  used  for  garments  and  accessories.  A  rude  preliminary  sketch  may 
be  detected  in  transparent  shiny  lines. 

On  two  fairly  high  steps  stands  a  shaft  with  plain  top.  Taeniae  in  light  red  and  in 
a  color  now  purplish  are  fastened  around  the  shaft  and  the  base. 

At  the  left  a  young  woman  stands  en  fact  carrying  a  flat  basket  of  taeniae  on  her  left 
arm  and  steadying  it  with  her  right  hand.  Her  garment  (a  sleeveless  chiton  ?)  has  now 
disappeared;  the  hair  falls  in  curls  to  her  shoulders.  The  large  flat  basket  is  decorated 
in  dull  black,  and  from  it  hang  several  taeniae. 

At  the  right  a  bearded  man  stands  tn  face  supporting  his  right  hand  on  a  staff.  He 
wears  a  red  himation  which  covers  his  left  hand  (the  hand  rests  on  his  hip);  his  hair  is 
drawn  in  long  curls  about  the  face  and  falling  to  his  shoulders. 

Both  the  figures  on  this  vase  follow  types  which  appear,  e.g.  on 
lekythoi  of  the  "  academic  "  series  of  Class  V.1  The  drawing  is  very 

1  For  the  woman  at  the  left  cp.  V,  54,  Athens,  Nat.  Mus.  1960;  the  man  at  the  right  may  be  com- 
pared with  the  right-hand  figure  on  V,  59,  Vienna,  Ocstcr.  Mus.  1088. 


264  ATHENIAN  WHITE   LEKYTHOI 

careful  and  resembles  that  on  the  lekythoi  already  discussed  in  the 
present  series.1  The  faces  have  only  a  distant  relationship  to  the  earlier 
work  in  this  series,  and  are  quite  unlike  anything  found  in  Class  V; 
they  are  not  unlike  those  on  the  following  number  (10),  and  they 
might  be  compared  with  the  work  on  no.  5  of  the  following  series; 
still  closer  parallels  are  to  be  found  on  red-figured  work.  The  short 
neck,  the  swelling  forehead,  with  which  the  nose  forms  a  decided  angle, 
the  weak  upper  lip  and  full  lower  lip,  the  small  chin  protruding  for- 
ward, the  double  inner  line  of  the  nose,  and  the  finely  drawn  eye,  all 
attract  the  attention  of  the  student.  The  tendency  to  a  "picturesque" 
treatment  of  the  hair  began  in  vases  of  Class  V,  but  it  is  carried  much 
farther  on  the  present  vase  and  on  some  that  follow.  This  simple 
stele,  with  many  taeniae  about  the  shaft  and  one  about  the  base,  is 
very  like  the  stele  on  nos.  6  and  8  above;  other  points  also  serve  to 
connect  it  with  nos.  4,  5,  6,  and  8  as  specimens  of  the  same  style  of 
workmanship.  That  a  garment  has  disappeared  without  leaving 
any  trace  on  several  vases  of  this  series  simply  indicates  that  the  artists 
were  experimenting  with  a  dull  color  which  has  entirely  failed  to  stand 
the  test  of  time. 

10.  Boston,  Mus.  P.  8440.  Attica.  H.  0.40  m.  Report  of  the 
Museum  of  Fine  Arts,  XXV,  p.  77;  Coll.  Paton,  Exhibition  of  the 
Burlington  Fine  Arts  Club,  1880,  Catalogue,  p.  53,  no.  120.  Plate  XII. 

On  the  shoulder  egg-pattern  and  normal  palmettes  in  dull  black;  maeander  in  black 
glaze,  unbroken.  Drawn  in  fine  lines  of  brown  glaze.  Red  and  purplish  black  are 
used  for  garments  and  accessories.  Preliminary  sketch  in  transparent  shiny  lines. 

On  two  steps  stands  an  altar-like  base  crowned  with  a  pediment  and  at  the  top  a 
palmette;  taeniae  are  draped  around  it,  a  black  wreath  hangs  on  the  front,  and  on  the 
steps  lies  a  black  lekythos.  Behind  it  are  seen  the  two  steps  and  plain  shaft  of  a  stele; 
a  taenia  is  tied  around  the  shaft. 

At  the  left  a  nude  youth  stands  en  face,  his  right  leg  relieved.  He  grasps  two  erect 
spears  in  his  left  hand,  and  on  his  arm  hangs  a  chlamys,  red  with  black  fold-lines;  a 
sword  in  its  scabbard  hangs  from  its  belt;  the  right  hand  is  placed  against  his  hip.  His 
hair  is  sketched  in  brown  on  a  yellow  surface.  The  anatomy  is  indicated  by  very  fine  lines. 

At  the  right  a  young  woman  stands  in  profile,  holding  out  on  her  right  hand  a  smeg- 
matotheke,  and  carrying  in  her  left  hand  tablets  suspended  by  a  cord.  Her  hair  falls 
over  her  shoulders  in  loose  curls;  the  garment  has  entirely  disappeared. 

In  this  instance  it  is  not  absolutely  clear  that  the  young  woman's 
garment  was  ever  drawn;  the  outlines  of  the  figure  are  drawn  in  detail, 
and  the  belief  that  she  had  a  garment  rests  only  on  the  absence  of 
detail  in  the  figure,  and  on  the  universal  practice  of  representing  the 

1  The  feet  and  hands  recall  no.  4,  Athens,  Nat.  Mus.  1932,  and  no.  5,  Berlin,  Inven.  3291. 


GROUP   C:    CLASS   VI,    i,    10-11  265 

women  with  the  chiton.  The  sketchy  treatment  of  her  hair  can  be 
paralleled  on  lekythoi  with  drawing  in  dull  color.  The  smegmato- 
theke,  however,  belongs  with  the  lekythoi  already  described  and  with 
their  household  scenes;  it  is  almost  never  found  on  lekythoi  drawn  in 
dull  color.  A  tablet  has  been  noted  in  the  hands  of  a  woman  at  the 
grave  on  no.  6  above;  *  there  it  seemed  to  belong  to  a  scene  of  farewell 
into  which  the  stele  had  been  introduced;  here  it  hangs  suspended  from 
long  strings,  as  though  it  might  be  attached  to  the  stele,  and  perhaps 
it  is  as  much  an  offering  at  the  grave  as  the  toilet  vase  which  she  carries 
in  her  other  hand.  The  delicate  face  and  the  bold,  sure  lines  of  the 
drawing  are  the  work  of  an  artist  trained  to  something  higher  than 
"  painting  lekythoi  for  the  dead."  The  nude  youth  is  far  more  grace- 
fully drawn  than  the  ephebos  on  no.  4,2  though  the  hands  and  feet  show 
the  same  tricks  of  drawing  and  the  garment  is  handled  in  the  same 
manner.  The  same  figure  was  handled  with  much  greater  care  on 
some  of  the  later  vases  of  Class  V,3  though  the  work  here  perhaps  shows 
a  surer  hand.  His  face  is  more  hastily  done  than  the  faces  on  the  pre- 
ceding number,  but  the  peculiar  tip  of  the  nose  and  the  small  protrud- 
ing chin  are  the  same  on  both. 

For  the  peculiar  altar-like  base,  above  which  are  seen  the  steps  and 
shaft  of  a  stele,  it  is  difficult  to  find  a  parallel.  On  the  following 
lekythos  (Berlin,  2448)  there  seems  to  be  the  shaft  of  a  second  stele 
behind  the  broad  monument  with  plain  triangular  top,  which  occupies 
the  foreground.  This  type  of  broad  monument  is  specially  suited  to 
those  cases  4  where  figures  are  represented  as  seated  or  standing  on  the 
top  of  the  stele,  but  such  cases  shed  no  light  on  the  slender  stele  behind 
the  broader  one.  Perhaps  the  person  who  painted  a  lekythos  in  Class 
IV  5  had  in  mind  the  same  thing  which  is  depicted  on  this  and  the 
following  vase;  there  the  slender  shaft  on  many  steps  seems  to  be  placed 
directly  on  the  altar-like  basis. 

n.  Berlin,  Furtw.  2448.  Athens.  H.  0.19  m.  Benndorf,  Griecb. 
Sic.  Vas.  Taf.  xxiv,  4,  S.  42. 

On  the  shoulder  egg-pattern  and  normal  palmettes  in  dull  black  (alternate  leaves 
red);  the  complicated  unbroken  maeander  is  also  in  dull  black.  Drawn  in  lines  of  yellow 
glaze,  not  very  fine;  red  is  used  for  taeniae  and  garment;  the  hair  also  is  in  yellow  glaze. 

1  Athens,  Nat.  Mus.    1761  ;  Gerhard,  Aui.  Vasea.  Taf.  50-51,  I  (Stephani,  1538),  Taf.  187;  and 
Brit.  Mus.  E  80. 

2  Athens,  Nat.  Mus.  1932. 

•  E.g.  V,  53,  Athens,  Nat.  Mus.  1811;   73,  AnnaH,  1841,  Tar.  L. 

4  No.   13,  Banner  Studien,  S.   154.,  Taf.  x;   no.   14,  Athens,  Nat.  Mus.  1815. 

•  B  IV,  3,  no.  n,  Athens,  Nat.  Mus.  1825. 


266  ATHENIAN  WHITE   LEKYTHOI 

On  three  steps  stands  a  broad  stele  with  plain  triangular  top;  behind  it  is  apparently 
the  slenderer  shaft  of  a  second  stele.  Over  the  second  stele  and  about  the  first  are  draped 
several  red  taeniae. 

Two  youths  are  engaged  in  draping  several  taeniae  about  the  broader  stele.  The 
one  at  the  left  stands  in  profile,  the  left  leg  relieved,  and  holds  a  taenia  in  both  hands. 
He  is  nude;  apparently  a  taenia  is  tied  about  his  head  and  the  loose  ends  fall  behind. 
The  youth  at  the  right  stands  en  face  and  with  his  right  hand  arranges  the  taeniae  on  the 
top  of  the  stele.  He  wears  a  large  red  himation,  underneath  which  his  left  elbow  is  raised. 

A  careful  examination  of  this  vase  and  a  comparison  of  it  with  the 
preceding  one  leads  me  to  think  that  Furtwangler  is  wrong  in  saying 
that  there  is  no  second  stele.  I  do  not  find  a  glaze  contour  to  the  taenia 
which  hangs  above,  but  only  a  line  inside  the  taenia  which  seems  to 
indicate  the  shaft  of  a  second  stele.  The  literalism  of  the  scene  is 
such  that  it  might  have  been  copied  from  reality.  The  youth  at  the 
left  holds  the  taenia  in  both  hands  with  a  gesture  that  does  not  occur 
on  other  lekythoi  of  this  group,  yet  the  gesture  is  quite  true  to  life. 
His  figure  is  graceful,  but  the  faces  are  hastily  drawn  and  the  brush 
used  for  the  contour  lines  is  coarser  than  on  the  lekythoi  thus  far 
considered.  The  pointed  nose  and  square  chin  of  these  small  heads 
belong  to  a  special  type  of  drawing  which  is  repeated  on  several  of  the 
vases  that  follow,  and  is  found  again  in  the  first  class  of  vases  with 
drawing  in  dull  color. 

12.  Berlin,  Inven.  3245.  Athens.  H.  0.342  m.  Coll.  von  Bran- 
teghem,  176;  Jabr.  Arch.  Inst.  1893,  Arch.  Anz.  S.  92,  54. 

On  the  shoulder  three  palmettes  (once  two  red  leaves  in  front  ?)  in  coarse  lines  of 
dull  black;  the  complicated  maeander  is  also  in  dull  black.  The  slip  is  clear  white  and 
shiny.  Drawn  in  yellow  glaze,  the  hair  in  black  lines  on  yellow;  dull  black  is  used  for 
the  palmette  of  the  stele  and  for  a  kylix  in  the  field.  There  are  traces  of  a  preliminary 
sketch  with  the  spear  in  a  different  position. 

On  three  steps  rises  a  slender  stele  with  plain  round  top  in  which  a  rude  palmette 
is  drawn  in  dull  black. 

At  the  left  a  young  girl  approaches  (in  profile)  carrying  a  very  large  basket  on  her 
head;  in  the  basket  are  fruits  and  from  it  hang  outline  taeniae.  In  her  right  hand  she 
holds  out  an  outlined  lekythos,  and  in  her  left  hand  a  taenia. 

At  the  right  a  youth  approaches  (in  partial  profile),  holding  out  a  spear  in  his  right 
hand,  and  carrying  a  shield  on  his  left  arm.  A  small  scarf  hangs  over  his  right  arm  and 
left  shoulder;  on  his  head  is  a  Corinthian  helmet  pushed  back. 

As  Furtwangler  suggests  in  the  Jabrbuch,  the  figure  at  the  right 
may  well  represent  the  dead  person  to  whom  the  young  girl  is  bring- 
ing these  offerings.  But  while  in  other  instances  the  isolated  figure  gen- 
erally represents  a  statue,  this  youth  rather  seems  to  be  copied  from  a 
painting  or  relief.  The  simple  treatment  of  the  eye  on  both  figures, 


GROUP   C:    CLASS   VI,    i,    12-13  267 

the  rapid  motion  of  the  youth,  and  the  literalness  of  the  scene  is  in 
marked  contrast  with  the  later  vases  of  Class  V,  though  on  one  of  these 
the  same  scarf  appears;1  on  the  whole  the  pointed  chin  and  the  spirit 
of  the  scene  here,  as  on  the  two  previous  vases,  recalls  the  work  on  the 
first  class  of  lekythoi  with  drawing  in  dull  color. 

The  young  woman  with  the  basket  on  her  head  is  another  figure 
which  is  copied  from  reality  rather  than  a  repetition  of  some  type  famil- 
iar to  the  vase  painter.  On  an  earlier  vase  of  this  series 2  the  servant  is 
carrying  a  diphros  for  the  woman  on  the  other  side  of  the  stele,  and  the 
attitude  is  much  the  same;  there,  however,  it  is  almost  a  domestic 
scene  which  is  connected  with  the  grave  by  the  presence  of  a  stele, 
while  here  we  seem  to  have  a  representation  of  the  dead  person  on  the 
one  side  and  of  a  worshipper  bringing  offerings  on  the  other. 

13.  Bonn,  Univer.  Mus.  H.  0.41  m.  Banner  Studien,  S.  154, 
Taf.  x;  Jour.  Hell.  Stud.  1899,  p.  182. 

On  the  shoulder  egg-pattern  and  palmettes  in  dull  black;  maeandcr  unbroken. 
Drawn  in  brown  glaze;  red  is  used  for  the  garments. 

A  rather  broad  stele  stands  on  three  steps;  from  the  top  hang  two  taeniae,  and  on 
the  top  is  the  statue  of  a  nude  youth  turned  toward  the  left,  his  left  hand  resting  on  his  hip. 

At  the  left  stands  a  young  woman  in  partial  profile;  she  carries  a  large  basket  on  her 
left  arm  and  steadies  it  with  her  right  hand;  the  basket  contains  wreaths  and  taeniae. 
The  woman's  garment  is  perhaps  repainted;  she  seems  to  have  worn  a  sleeveless  chiton 
and  probably  no  overgarment.  Her  hair  falls  in  long  curls  over  her  shoulders. 

At  the  right  a  bearded  man  stands  in  full  profile,  resting  his  right  hand  on  the  top  of 
a  cane.  The  lines  of  the  figure  show  through  the  large  red  mantle  in  which  he  is  draped. 

The  most  interesting  question  which  is  raised  by  this  vase  has  to 
do  with  the  figure  standing  on  the  grave  stele.  Is  it  intended,  as 
Mr.  Bosanquet  holds,  to  represent  the  relief  on  the  stele  itself,  which  the 
artist  does  not  know  how  to  represent  in  any  other  way  ?  That  ques- 
tion as  a  whole  cannot  be  considered  except  in  the  light  of  further 
evidence,  which  the  next  lekythos  furnishes.  It  seems  clear  to  me, 
however,  that  in  the  present  instance  we  have  to  do  with  a  statue  rather 
than  with  a  relief.  It  is  true  that  this  type  of  figure  appears  in  vase 
painting  at  about  this  epoch,3  and  it  is  entirely  possible  that  the  maker 
of  this  vase  took  this  figure  from  a  vase  type  and  put  it  here  as  a  statue. 
It  is  evident  that  it  is  very  different  from  the  somewhat  stiff  figures 
found  on  grave  stelai  toward  the  end  of  the  fifth  century  B.C.  Whether 
or  not  statues  were  erected  at  this  time  as  grave  monuments,  the  hono- 

"  1  No.  71,  Coll.  G.  Salting ;  cp.  al*>  the  warrior  on  Brit.  Mus.  E  379. 
*  Claw  VI,  i,  no.  5,  Berlin,  Inven.  3291. 
«  E.g.  Gerhard,  Au*.  Paten.  Taf.  184  ( Mut.  Greg.  II,  58);  Mo*,  ha.  1856,  Tar.  «. 


268  ATHENIAN  WHITE   LEKYTHOI 

rary  statue  was  the  most  natural  symbol  of  the  dead  athlete.  It  is  the 
aim  of  the  painter  here  to  indicate  that  the  dead  person  for  whom  the 
vase  is  to  be  used  is  a  man  in  the  prime  of  youth,  just  as  on  the  preced- 
ing vase  he  indicated  that  the  vase  was  to  be  used  for  a  young  warrior; 
and  as  there  he  copied  the  painting  of  a  young  warrior  beside  the  stele, 
so  here  he  copies  the  statue  of  a  young  athlete  on  top  of  the  stele,  in 
order  that  there  may  be  no  doubt  about  his  meaning. 

Both  the  young  woman  at  the  left  and  the  bearded  man  with  his 
staff  at  the  right  are  figures  familiar  to  the  lekythos  painter.  The  man 
may  be  put  in  here  to  indicate  the  father  of  the  youth,  and  the  woman 
might  be  his  sister,  but  there  is  nothing  to  indicate  that  there  was  any 
such  definite  thought  in  the  mind  of  the  painter. 

14.  Athens,  Nat.  Mus.  1815,  Cv.  1689.  Eretria.  H.  0.385  m. 
SE<£.  'A/>x-  1886,  o-.  42,  mv.  4  ft. 

On  the  shoulder  three  palmettes  with  leaves  in  dull  gray  and  red;  the  unbroken 
maeander  also  is  in  dull  color.  The  body  of  the  vase  swells  slightly  below  the  shoulder. 
Drawn  in  not  very  fine  lines  of  yellow  glaze;  bright  red,  dark  pink,  and  dull  black  are 
used  for  garments  and  accessories.  The  lines  of  the  preliminary  sketch  in  transparent 
shiny  lines  show  white  through  the  added  dull  color. 

On  three  steps  stands  a  square  block  about  which  red  and  black  taeniae  are  draped. 
On  top  a  woman  in  partial  profile  sits  facing  toward  the  left  and  in  her  right  hand  holding 
out  a  bunch  of  grapes.  She  wears  a  sleeve  chiton  with  red  stripes,  and  a  white  himation. 
In  front  of  her  a  nude  child  is  seated  on  the  ground  and  holds  out  his  hand  for  the  grapes. 
In  the  field  above  hangs  a  mirror. 

At  the  left  a  youth  in  partial  profile  leans  forward  on  a  gray  knotted  stick  and  raises 
his  right  hand  toward  the  stele.  He  is  draped  in  a  dark  pink  himation  (black  fold-lines) 
which  leaves  the  right  shoulder  free.  The  hair  is  stippled  on  a  yellow  surface  with  con- 
siderable detail. 

At  the  right  a  woman  stands  en  face,  looking  at  the  monument  and  carrying  in  each 
hand  a  fillet  tied  in  a  circle.  She  wears  a  red  sleeveless  chiton  (black  fold-lines),  open  at 
the  side  and  hanging  in  an  overfold  from  the  shoulder  without  a  girdle;  her  hair  is  covered 
with  a  cloth,  except  for  locks  about  the  face. 

This  lekythos,  like  the  one  just  preceding,  is  particularly  interest- 
ing because  of  the  figures  represented  on  top  of  the  stele.  It  has  been 
suggested  in  the  case  of  this  vase  also,1  that  these  figures  are  intended 
to  be  a  relief  such  as  appears  on  the  later  grave  stelai.  That  it  is  of 
the  same  type  as  the  reliefs  on  many  of  the  stelai  is  evident  at  a  glance; 
it  is  a  scene  of  domestic  life,  a  mother  with  her  child  at  home,  just  the 
sort  of  scene  which  was  normal  for  grave  reliefs.  Yet  this  vase  must 
be  dated  rather  early  in  the  second  half  of  the  fifth  century,  while  the 
grave  reliefs  which  most  closely  resemble  it 2  belong  to  a  somewhat 

1  Gardner,  Sculptured  Tomb*  of  Hellas,  p.  18.  2  Ibid.  pi.  xviii,  xxx. 


GROUP   C:    CLASS   VI,    i,    14  269 

later  date.  Again  it  should  be  noted  that  here  the  scene  is  taken  rather 
from  painting  than  from  a  relief.  The  hanging  mirror  to  denote  a 
house  interior  may  perhaps  occur  on  reliefs,  though,  as  we  have  seen, 
it  belongs  to  the  apparatus  of  the  vase  painter  at  a  date  some  two 
decades  earlier  than  I  am  inclined  to  place  the  present  lekythos. 
The  bold  foreshortening  of  the  child's  leg  can  be  duplicated  in  the 
painting,  e.g.  of  Euphronios,  but  we  can  hardly  believe  that  it  was 
attempted  in  grave  reliefs  of  the  fifth  century.  It  is  possible,  indeed 
probable,  that  the  maker  of  this  lekythos  intended  to  have  us  believe 
that  this  painting  was  on  the  stele,  not  on  top  of  it;  several  lekythoi  of 
Group  D  actually  show  such  a  painting  (or  relief?)  on  the  stele,  and 
the  drawing  is  not  unlike  that  of  the  figures  on  top  of  the  stele  here. 
In  a  word  we  find  here,  not  a  rude  attempt  to  represent  a  stele  with  a 
relief,  but  a  domestic  scene  copied  from  vase  painting;  the  subject  of 
the  scene  reproduces  Greek  thought  of  the  dead,  so  that  very  naturally 
it  appears  later  on  grave  stelai  with  reliefs. 

The  figure  of  a  man  leaning  on  a  staff  under  his  left  shoulder  has 
been  noted  on  the  earliest  lekythoi  with  outline  drawing;  the  lifeless 
left  hand  here  is  due  to  a  neglect  of  accurate  detail,  which  is  seen  also 
in  the  woman's  hands.  The  right  hand  is  extended,  not  to  receive  some- 
thing,1 but  either  to  point  out  something  to  the  woman  or  simply  to  sug- 
gest that  the  youth  wishes  to  get  into  touch  with  his  companion.2  The 
attitude  of  the  woman  and  her  garment  closely  reproduce  the  woman 
at  the  right  on  no.  5  supra;3  perhaps  the  garment  is  closer  to  nature 
here,  and  certainly  the  character  of  the  drawing  of  the  face  is  of  a  very 
different  type  from  that  on  the  lekythos  in  question.  The  woollen  (?) 
fillets  tied  up  in  the  form  of  a  crown,  which  she  brings  to  the  stele,  are 
found  on  black-figured  vases,  but  not  in  just  this  form  on  red-figured 
vases  or  on  outline  lekythoi.4  The  fillets  with  hatched  markings  on 
the  stele  of  many  lekythoi  of  Class  V,  series  e,  are,  however,  very 
similar. 

The  angular  profiles  and  square,  even  pointed,  chin  of  the  woman 
are  characteristic  of  several  vases  included  at  this  point  in  the  classi- 
fication; the  detailed  treatment  of  the  youth's  hair  also  belongs  with 
this  same  style  of  drawing. 


1  At  on  no.  6,  Athens,  Nat.  Mus.  1761. 

2  Cp.  C  V,  no.  71,  South  Kensington  Mm. 
*  Berlin,  Inven.   3191. 

4  E.g.  An*aK,  1850,  Ta».  EF,  i  ;  Mam.  ha.  Ill,  Tar.  «!T>,  6  ;  cp.  Gardner,  ScttpnreJ  Tamkt  •/ 

Hcllat,  pi.  zix. 


270 


ATHENIAN  WHITE   LEKYTHOI 


15.    Athens,   Nat.   Mus.    1993,   Cv.    1741.     Eretria.     H.    0.325    m. 
AeXrtW,  1889,  cr.  246,  15;  Jour.  Hell.  Stud.  1899,  p.  183.      (Fig.  53.) 

The  shape  is  not  very  slender,  and  the  body  does  not  swell  below  the  shoulder. 

On  the  shoulder  are  three  palmettes 
with  slender  gray  leaves  and  red  leaves; 
the  complicated  maeander  is  in  black 
glaze.  Green,  reddish  brown,  and  dark 
red  are  used  for  accessories  and  garments. 
The  preliminary  sketch  in  transparent 
shiny  lines  is  to  be  clearly  traced. 

On  two  steps  stands  a  plain  stele 
with  square  top;  a  green  taenia  is  draped 
about  it. 

At  the  left  stands  a  youth  in  profile, 
his  left  hand  on  his  staff,  his  right  raised 
to  his  head  in  a  gesture  of  mourning. 


FIG.  53  a  (no.  15). 


FIG.  536  (no.  15). 

A  brown  himation  is  draped  over  his  left 
arm  and  about  the  lower  part  of  his 
body;  his  hair  is  drawn  in  nearly  par- 
allel lines  from  the  forehead  back  with  a 
coarse  brush. 


GROUP   C:    CLASS   VI,    i,    15-16  271 

At  the  right  a  bearded  man  stands  in  partial  profile,  his  right  hand  on  his  staff.  A 
dark  red  himation  covers  his  whole  body  and  his  left  hand;  his  hair  is  stippled  black  on 
a  yellow  surface. 

The  bearded  man  at  the  right  is  a  familiar  figure  which  has  ap- 
peared in  almost  exactly  this  form  on  several  lekythoi  already  con- 
sidered.1 But  the  mourning  youth  is  a  touch  of  literalism  that  is  quite 
new.  Traces  of  the  same  literalism  have  already  been  noted  on  the 
earlier  numbers  of  this  series.  To  depict  actual  mourners,  except  in 
prothesis  scenes,  is  quite  unusual;  almost  exactly  this  same  figure  occurs 
on  more  than  one  lekythos  in  the  first  class  of  vases  with  drawing  in 
dull  color,2  a  class  where  the  same  type  of  drawing  is  found  as  on  the 
lekythoi  now  under  consideration.  But  while  the  mourner  is  com- 
bined there  frequently  with  a  person  who  brings  offerings  to  the  tomb, 
here  he  faces  the  immobile  figure  of  an  old  man  with  his  hand  on  his 
staff.  It  is  quite  possible  that  the  man  at  the  right  may  have  been 
intended  to  suggest  the  father  for  whom  the  youth  is  mourning. 

16.    Athens,  Nat.  Mus.  2035.     H.  about  0.35  m. 

The  shape  is  like  that  of  no.  15.  On  the  shoulder  are  three  palmettes  with  four  dull 
black  and  five  red  leaves;  the  unbroken  maeander  is  in  dull  black.  Reddish  brown  and 
dark  red  are  used  for  garments  and  accessories. 

On  three  steps  stands  a  slender  stele  with  low  triangular  top.  There  is  no  decoration 
of  any  sort. 

At  the  left  a  youth  in  partial  profile  leans  forward  on  a  black  knotted  stick  and 
raises  his  right  hand  toward  the  stele.  His  body  and  left  arm  to  the  hand  are  covered 
with  a  dark  red  himation.  The  short  curly  hair  is  drawn  in  some  detail. 

At  the  right  a  youth  in  profile  stands  looking  at  the  stele.  The  body  and  both  arms 
are  covered  with  a  brown  himation;  his  yellowish  hair  falls  over  the  back  of  his  neck. 

The  figure  at  the  left  almost  exactly  duplicates  the  youth  leaning 
on  his  staff  at  the  left  on  no.  14  above;  such  details  as  the  treatment  of 
the  left  hand  indicate  that  we  are  dealing  with  two  vases  made  at  the 
same  time  by  the  same  person.  On  another  vase  at  Athens  with  draw- 
ing in  dull  color  almost  the  same  figure  occurs,  though  the  youth  is 
holding  out  a  taenia.3  The  youth  so  closely  wrapped  in  his  himation 
is  also  a  familiar  figure  on  vases  of  this  first  class  with  drawing  in  dull 
color.4  It  is  hardly  the  same  thing  as  the  woman  draped  in  her  mantle 
on  a  vase  in  Vienna  already  discussed,5  for  it  is  not  unnatural  for  the 
woman  to  be  thus  draped  when  she  goes  out  to  visit  the  grave;  I 

1  E.g.  on  the  Bonn  lekythos,  no.  13  supra ;  Cla»  V,  no.  59,  Vienna,  Oester.  Mus.  1088,  and  no. 
66,  Coll.  von  Brantrghcm. 

*  E.g.  Brit.  Mu«.  D  67,  Cat.  Vattt,  III,  pi.  xxrii. 

•  Athens,  Nat.  Mus.  0018,  Benndorf,  Grieck.  Sic.  Vat.  Taf.  xxi,  i. 

«  E.g.  Berlin,  Inven.  3963.  •  Class  V,  59,  Vienna,  Ooter.  Mm,  1088. 


272  ATHENIAN  WHITE   LEKYTHOI 

should  rather  compare  it  with  the  woman  about  to  embark  with  Charon, 
on  no.  7  supra.1  In  general  I  believe  that  this  type  of  closely  draped 
figure  is  intended  to  represent  the  dead  person. 

The  palmettes  on  the  shoulder  of  this  vase  are  peculiar  in  that  the 
number  of  black  leaves  is  even  and  the  front  leaf  is  therefore  red.  This 
arrangement  of  the  leaves,  so  far  as  I  am  aware,  is  found  only  on  leky- 
thoi  of  the  earliest  class  on  which  the  outlines  are  drawn  in  dull  color 
(Class  IX).  The  five  last  lekythoi  which  have  been  discussed  (nos. 
11-16)  show  many  points  of  resemblance  to  that  class.  The  rather 
heavy  shape  with  cylindrical  body  and  flat  shoulder,  the  creamy  nature 
of  the  slip,  which  is  often  covered  with  fine  cracks,  the  coarse  even  lines 
of  the  drawing,  the  simple  stelai  without  scrolls  or  palmettes,  the  preva- 
lence of  dark  red  or  reddish  brown  for  the  garments,  the  angular  features 
of  the  profile,  such  are  some  of  the  points  of  contact  between  the  two 
series.  It  may  further  be  noted  that  various  types  of  figures  are  com- 
mon to  both  series,  and  that  the  same  spirit  of  simplicity  and  even 
literalness  characterizes  both.  Probably  no.  17  belongs  with  nos.  1 1-16 
in  their  likeness  to  the  above-mentioned  class. 

i6a.  New  York,  Metr.  Mus.  Inven.  06,  1075.     H.  0.385. 

The  egg-pattern  and  normal  palmettes  on  the  shoulder  are  in  coarse  lines  of  yellow 
glaze.  The  maeander,  broken  by  oblique  crosses  and  reversing,  is  in  dull  gray.  The 
elaborate  preliminary  sketch  is  made  with  a  rather  fine  point  which  often  cut  through  the 
slip.  Dark  red  is  used  for  a  garment. 

A  slender  stele  with  simple  flat  top  stands  on  two  steps.  On  top  is  a  rabbit,  perhaps 
intended  for  a  live  rabbit.  On  the  steps  are  two  thick  taeniae,  one  of  them  tied  in  a 
circle. 

At  the  left  a  woman  in  profile  stands  holding  out  in  both  hands  a  flat  basket.  She 
wears  a  sleeve  chiton  and  red  himation.  The  head  is  very  thin  from  front  to  back. 

At  the  right  a  woman  in  profile  stands  with  head  bowed,  holding  out  her  right  hand 
horizontally,  palm  down,  toward  the  stele.  She  wears  a  sleeve  chiton  and  a  himation 
which  covers  her  left  arm.  The  head  is  drawn  as  if  she  had  no  forehead. 

The  drawing  on  this  vase  is  very  poor,  and  it  deserves  attention 
only  for  two  details.  The  thick  taeniae,  one  of  them  with  the  ends 
tied  together,  recall  series  e  of  Class  V;  evidently  that  series  was  im- 
portant enough  to  influence  poorer  workmen  who  were  beginning  to 
use  dull  color  for  some  details  of  the  vase.  The  rabbit  on  the  stele, 
whether  it  is  a  reminiscence  of  the  rabbit  hunt,  or  an  ornament  added 
to  crown  the  stele,  is  characteristic  of  the  present  series,  for  analo- 
gies to  both  methods  of  interpretation  are  found  in  the  vases  already 
described. 

1  Berlin,  Inven.  3160. 


GROUP   C:    CLASS    VI,  i,  i6a-i9  273 

17.  Bologna,  Mus.  Civ.  368.     Attica.     H.  0.16  m.     Heydemann, 
Drittes  hall.  Winck.  progr.  S.  56,  no.  1362. 

The  shoulder  has  been  repainted  and  the  unbroken  maeander  retouched.  The 
drawing  was  originally  in  rather  fine  lines  of  dark  brown.  Traces  of  red  and  dull  black 
may  be  detected.  The  preliminary  sketch  in  transparent  shiny  lines  may  be  clearly 
traced. 

On  two  steps  rises  a  somewhat  slender  stele.  Probably  the  top  was  without  orna- 
ment. One,  possibly  two,  red  taeniae  were  tied  around  it. 

At  the  left  stands  a  woman  in  profile,  her  left  hand  raised  to  her  head  in  mourning, 
her  right  hand  extended  toward  the  stele.  The  garment  has  disappeared  and  the  body 
has  been  repainted  in  coarse  lines. 

The  preliminary  sketch  shows  that  the  figure  at  the  right  was  standing  en  face,  a 
woman  carrying  on  her  left  hand  a  basket  of  taeniae.  The  dull  black  ornamentation  of 
the  basket  is  almost  all  that  remains  of  the  original  drawing. 

This  vase  is  only  interesting  because  its  history  may  be  so  clearly 
read.  The  preliminary  sketch  indicates  the  main  lines  of  the  figures, 
the  face,  hands,  and  feet  of  the  woman  at  the  left  are  in  the  fine  lines 
of  the  original  drawing,  the  dull  black  ornament  of  the  basket  and 
traces  of  red  taeniae  remain,  while  the  coarse  lines  of  the  restoration 
have  made  both  figures  heavy  and  absurd. 

18.  Athens,  Private  Collection.     Eretria.     H.  0.35  m. 

On  the  shoulder  are  three  palmettes  with  dull  black  and  red  leaves.  The  rather 
careless  maeander  is  broken  by  dotted  oblique  crosses.  Vermilion  and  other  colors 
now  faded  were  used  for  garments  and  accessories.  No  preliminary  sketch  can  be 
detected. 

On  two  steps  stands  a  stele  with  simple  round  top.  On  the  upper  step  is  a  good-sized 
lekythos;  and  around  the  top  are  fastened  two  taeniae. 

At  the  left  stands  a  woman  with  her  head  slightly  bowed.  She  wears  a  chiton  drawn 
in  outline  with  no  color  remaining;  her  hair  is  drawn  with  a  fine  brush  but  is  not  much 
shaded. 

At  the  right  is  a  youth  holding  his  spear  erect  in  his  right  hand.  He  wears  a  ver- 
milion chlamys,  a  petasos  on  his  shoulder,  and  a  sword  in  its  scabbard.  The  hair  is 
black  with  free  locks  added  around  the  edges. 

The  presence  of  vases  on  the  steps  of  a  grave  monument  is  dis- 
cussed under  no.  22  of  Class  V;1  the  figure  of  an  ephebos  is  found  on 
no.  10  above,  though  it  is  less  common  than  in  Class  V. 

19.  Vienna,  Hofmus.  621.     Epidaurus.     H.  0.24  m. 

On  the  shoulder  the  egg-pattern  and  three  palmettes  are  in  dull  black.  The  rather 
complicated  maeander  is  also  in  dull  black.  Drawn  in  fine  lines  of  brown  glaze;  the 
hair  is  drawn  in  curls  with  a  fine  brush.  Light  and  dark  red  are  added  for  garments. 
The  preliminary  sketch  in  transparent  shiny  lines  is  evident. 

1  Athens,  Nat.  Mu>.  1935. 

T 


274  ATHENIAN  WHITE   LEKYTHOI 

On  two  low  steps  stands  a  slender  shaft  crowned  by  a  projecting  pediment.  Below 
the  pediment  is  a  band  of  red. 

At  the  left  a  youth  in  partial  profile  approaches  the  stele  and  extends  his  right  hand 
toward  it;  in  his  left  hand  he  holds  out  behind  him  a  taenia  now  white.  His  head  is 
slightly  bowed.  He  wears  a  large  light  red  himation  which  leaves  the  right  side  uncovered. 

Opposite  him  stands  a  woman  in  partial  profile,  her  right  leg  relaxed.  Her  right 
hand  is  slightly  raised  toward  the  stele.  She  wears  a  sleeveless  (  ?)  chiton  and  a  himation 
in  dark  red  which  covers  the  left  arm  and  left  hand. 

It  is  unusual  for  a  man  to  bring  to  the  grave  such  offerings  as  a 
taenia;  possibly  the  figure  at  the  left  was  a  woman,  for  the  vase  is  so 
much  rubbed  that  the  details  cannot  be  exactly  made  out.  The  gesture 
of  a  hand  extended  toward  the  stele  has  been  noted  in  connection  with 
nos.  14  and  16  of  the  present  series,  and  the  gesture  of  the  slightly 
raised  hand  in  connection  with  nos.  4  and  5.  In  the  graceful  poise  of 
the  figures  this  lekythos  differs  notably  from  those  that  have  just  been 
treated;  it  belongs  with  several  that  follow,  which  as  a  group  are 
connected  with  a  different  class  of  lekythoi  with  outlines  drawn  in 
dull  color.  Although  its  provenance  is  recorded  as  Epidaurus,  there 
is  no  doubt  that  it  is  of  Athenian  manufacture;  while  this  ware  was 
not  commonly  exported,  except  to  Eretria,  it  is  not  strange  that  iso- 
lated specimens  should  occur  in  a  place  so  closely  connected  with  Athens 
as  was  Epidaurus. 

20.  Paris,  Cab.  Med.  4893,  de  Ridder  502.  Athens.  H.  0.34  m. 
Gaz.  Arch.  1885,  p.  277,  pi.  xxxii,  3;  Rev.  Arch.  1892,  I,  p.  21. 

On  the  shoulder  the  egg-pattern  and  palmettes  are  in  pale  red  with  added  leaves 
in  a  color  that  is  now  brown;  the  maeander  is  in  the  same  pale  red.  Drawn  in  fine  lines 
of  yellow  glaze.  The  hair  of  the  youth  and  the  ends  of  the  taeniae  attached  to  the  stele 
are  black.  There  are  some  traces  of  red  color  on  the  woman's  garment.  There  are  traces 
of  a  preliminary  sketch. 

The  shaft  of  the  stele  rests  on  three  steps  and  is  crowned  by  a  sort  of  Doric  capital 
with  several  mouldings.  Several  taeniae  were  fastened  about  the  shaft,  but  only  the  ends 
remain. 

At  the  left  a  woman  in  profile  approaches,  holding  out  in  both  hands  a  Corinthian 
helmet  with  long  plume.  Traces  of  the  sleeve  of  the  chiton  and  of  the  front  lower  fold 
of  the  himation  may  be  detected.  The  black  glaze  of  her  hair  has  disappeared. 

An  ephebos  stands  in  partial  profile,  the  left  leg  relieved,  carrying  a  shield  and  spear 
in  his  left  hand  and  raising  his  right  hand  up  toward  the  stele.  In  the  preliminary  sketch 
he  seems  to  have  worn  a  short  garment  and  a  sword  at  his  side. 

This  lekythos  seems  to  have  been  drawn  somewhat  hastily  by  a 
sure  and  practised  hand;  the  figures  are  very  graceful  and  faces  and 
hands  are  drawn  with  unusual  delicacy.  The  interpretation  of  the 
scene  is  not  entirely  clear.  It  is  pointed  out  by  Pottier  in  the  Gazette 


GROUP   C:   CLASS   VI,  i,  20-22  275 

Archeologique  that  the  arms  are  too  large  for  the  youth,  and  that  the 
presentation  of  arms  at  the  stele  is  not  unusual  on  lekythoi.1  The 
inference  would  then  be  that  a  son  and  a  daughter  are  bringing  to  the 
tomb  of  their  father  the  arms  which  he  had  worn  in  battle  at  the  time 
of  his  death.  Whether  the  artist  had  in  mind  any  such  definite  and 
consistent  scheme  is  doubtful.  In  any  case  it  should  be  noted  that  a 
woman  is  more  than  once  represented  as  bringing  the  helmet  to  a  man 
who  is  preparing  to  go  into  battle.2  Whatever  the  direct  thought  of 
the  artist  in  the  present  case,  he  is  copying  that  schema  with  the 
addition  of  a  stele  to  remind  us  that  the  scene  has  to  do  with  the  dead. 
Further,  it  seems  to  me  that  he  has  used  the  scene  just  as  it  would  be 
used  on  a  grave  relief  to  indicate  an  act  that  is  familiar  in  the  daily 
life  of  the  deceased.  Accordingly  I  regard  the  stele  as  inserted  here 
to  remind  us  that  we  have  to  do  with  the  dead,  and  I  believe  that  a 
sister  or  young  wife  is  bringing  the  helmet  to  this  youth  just  as  she  did 
on  the  occasion  of  his  departure  for  the  battle  in  which  he  lost  his 
life.  The  same  type  of  scene  is  found  on  an  earlier  lekythos  of  this 
same  series.3 

The  following  lekythos,  which  Benndorf  saw  in  a  little  house  by  the 
Erechtheum,  is  mainly  interesting  because  it  reproduces  almost  the 
same  figures  which  have  been  discussed  under  the  present  number, 
but  apparently  without  the  helmet,  shield,  etc. 

21.  Athens,  Private  Collection.     Aegina  (?)     H.  0.27  m.     Benn- 
dorf, Griecb.  Sic.  Pas.Tiaf.  xxiii,  I. 

The  maeander  is  broken  by  oblique  crosses,  not  reversing.  Drawn  in  fine  lines  of 
yellow  (glaze);  light  red  is  added  for  garments,  and  on  the  stele  is  a  green  spot  which 
may  belong  to  a  taenia.  Preliminary  sketch  with  a  dull  point. 

On  two  steps  stands  a  slender  shaft  crowned  by  egg-moulding  and  a  low 
pediment. 

At  the  left  a  figure  in  partial  profile  is  approaching;  the  upper  part  of  the  figure  has 
disappeared.  At  the  right  a  youth  stands  in  partial  profile,  raising  his  right  hand  toward 
the  stele;  the  left  leg  is  relieved.  Apparently  he  wore  a  chlamys. 

22.  Athens,   Nat.    Mus.    1843,   Cv.    1701.     H.   0.34   m.     Pettier, 
Lecytbes  blancs,  p.   152,  83.     (Fig.  54.) 

On  the  shoulder  are  three  normal  palmettes  in  dull  pink  (no  egg-pattern);  the  mae- 
ander in  the  same  pink  is  broken  by  dotted  oblique  crosses,  reversing.  Drawn  in  broad 

1  Cm.  Arch.  1885,  p.  280;  cf.  Benndorf,  Grieck.  Sic.  Pin.,  Taf.  nri,  2;  Robert,  Tb***ntt  Taf. 
ii  ;  Pettier,  f.tude  lur  lei  ItCflbet  blanct  atrijuri,  pi.  iv,  p.  69  and  Apftnd.  101. 

a  B  IV,  i,  no.  29,  Oxford,  268  ;  C  V,  46,  Brit.  Mus.  D  51 ;  cf.  C  V,  I,  Berlin,  2444,  and  C  V, 
49,  Athens,  Nat.  Mui.  1818. 

»  No.  6,  Athens,  Nat.  Mus.  1761. 


276 


ATHENIAN  WHITE  LEKYTHOI 


even  lines  of  yellow  glaze;  the  hair  is  slightly  shaded  from  yellow  to  black.  Red  is 
used  for  one  garment,  and  yellow  for  the  boots.  The  transparent  shiny  lines  of  the 
preliminary  sketch  show  white  through  the  red  of  the  woman's  garment. 

On    two    steps    stands   a   slender  shaft 

surmounted  by  double  scrolls  and  palmette. 

Near  the  top  is  a  red  band,  probably  a  tae- 


At  the  left  a  woman  nearly  iri  profile 
approaches  with  head  bowed,  holding  out 
on  her  right  hand  a  smegmatotheke  (in  out- 
line). Her  chiton  has  disappeared,  but  the 
red  himation  remains.  The  hair  is  rolled 
in  a  flat  knot  at  the  base  of  her  head. 

At  the  right  a  youth  stands  in  partial 
profile  looking  down  at  the  grave.  In  his 
left  hand  is  a  spear  erect;  a  petasos  hangs 
on  his  shoulder,  and  he  wears  high  yellow 


FIG.  54     (no.  22). 


boots,  but  if  he  had  a  chlamys,  it  has  disappeared.      The  hair  falls  to  his  shoulders 
in  yellow  curls. 

On  this  vase  we  find  again  the  same  types  as  on  the  two  preceding, 
though  the  ephebos  has  no  shield  and  the  woman  is  bringing  a  smeg- 
matotheke. The  nudity  of  the  youth  suggests  that  he  is  the  dead  per- 
son at  whose  funeral  the  lekythos  was  to  be  used;  the  contrast  of  the 
two  figures  apparently  means  that  the  youth  is  the  dead  person  to  whom 
the  woman  mourner  is  bringing  the  toilet  vessel;  both  facts  confirm 
the  belief  that  on  no.  20,  where  the  schema  is  just  the  same,  the  youth 
at  the  right  is  intended  to  represent  the  person  at  whose  funeral  the 
lekythos  was  to  be  used. 

This  type  of  stele  is  characteristic  of  the  second  main  group  of 
lekythoi  with  outline  drawing  in  dull  color.  In  that  group  the  anthe- 
mion  of  the  stele  is  rarely  missing,  and  no  acanthus  leaves  are  found 
either  at  the  top  or  the  bottom  of  the  stele.  The  shape  of  this  vase 
and  the  style  of  the  drawing  may  also  remind  one  of  the  lekythoi  in 
that  group. 

23.    Athens,  Nat.  Mus.  1842  (Coll.  674),  Cv.  1816.     H.  0.32  m. 

On  the  shoulder  the  egg-pattern  and  three  normal  palmettes  are  drawn  in  dark  pink; 
the  maeander  in  the  same  color  is  unbroken.  The  lines  bounding  the  maeander  are 
broken  for  the  top  of  the  high  stele.  Drawn  in  broad  lines  of  yellow  glaze.  Purple, 
green,  and  dark  red  are  used  for  garments  and  accessories.  The  hair  is  black  but  the 
strokes  end  in  yellow. 

On  two  steps  stands  a  slender  shaft  crowned  with  egg-moulding  and  a  high  round 
top;  hanging  from  it  are  several  taeniae,  now  dull  purple  with  green  tassels. 

At  the  left  a  youth  in  profile  leans  forward,  supported  by  a  staff  under  his  left  arm; 


GROUP   C:  CLASS  VI,    i,   23-233  277 

he  holds  out  his  right  hand,  palm  down,  toward  the  stele.     A  dark  red  himation  covers 
his  body  and  his  left  arm. 

At  the  right  stands  a  woman  holding  in  both  hands  a  shallow  basket  from  which 
hang  purple  and  dark  red  taeniae.  She  wears  a  sleeveless  chiton,  the  perpendicular 
purple  stripes  of  which  have  almost  disappeared.  Her  hair  is  rolled  in  a  flat  knot  at 
the  base  of  her  head. 

Both  the  figures  on  this  vase  reproduce  familiar  types;  the  youth 
leaning  forward  on  his  staff  and  extending  his  right  hand  toward  the 
stele  is  the  same  type  as  the  figure  at  the  left  on  nos.  14  and  16;  and 
the  woman  is  peculiar  only  because  there  are  perpendicular  reddish 
stripes  on  her  garment. 

The  drawing  on  nos.  22  and  23  is  of  much  the  same  style.  The 
figures  are  gracefully  poised,  the  heads  are  small,  the  profiles  delicate 
though  slightly  angular,  and  the  hands  are  more  carefully  done  than 
on  many  lekythoi  of  this  series.  The  very  simplicity  of  the  work 
suggests  that  it  came  from  skilled  hands,  though  the  artist  may  have 
worked  somewhat  rapidly  when  he  was  using  as  coarse  a  brush  as 
in  these  cases.  It  may  be  too  definite  to  say  that  the  two  lekythoi 
are  a  pair  made  together,  but  it  is  evident  that  they  stand  in  close 
connection. 

2$a.  New  York,  Metr.  Mus.  Inven.  06,1021,137.  H.  0.325  m. 
Plate  X,  3. 

On  the  shoulder  are  three  palmettes  (red  and  black  leaves)  in  dull  black;  the  un- 
broken maeander  has  been  partly  restored.  Drawn  in  (coarse)  yellow  glaze  lines  rapidly 
with  a  sure  hand.  Red  and  dull  yellow  are  used  for  garments,  etc.  The  stele  top  is 
fantastically  restored. 

In  the  centre  a  slender  shaft  stands  on  two  steps.  The  palmette  or  pediment  at  the 
top  has  disappeared.  Black  and  red  taeniae  are  fastened  about  the  shaft. 

At  the  left  a  woman  approaches  the  stele  with  head  bowed,  holding  on  her  left  arm 
a  large  basket  with  black  wreaths  and  red  taeniae,  and  steadying  it  with  her  right  hand. 
No  garment  remains  and  the  lines  of  the  body  are  fairly  complete. 

At  the  right  a  youth  stands  en  face,  his  face  and  right  foot  toward  the  stele.  His 
right  hand  is  raised  slightly  toward  the  stele,  palm  in.  He  wears  a  large  red  chlamys, 
yellow  boots,  and  a  yellow  petasos  on  his  shoulder.  The  chlamys  covers  his  left  hand. 
His  head  is  square,  with  curls  falling  to  his  shoulder;  on  both  faces  the  chin  is  quite 
small. 

A  comparison  of  this  vase  with  the  preceding  vases  to  which  it  is 
very  closely  allied  gives  rise  to  the  belief  that  the  woman's  chiton  was 
once  drawn  in  a  color  that  has  disappeared.  On  no.  22  the  chiton  has 
disappeared,  while  the  himation  still  remains.  Nor  can  any  argument 
to  the  contrary  be  drawn  from  the  completeness  of  the  glaze  lines  for 


278  ATHENIAN  WHITE   LEKYTHOI 

the  woman's  body,  for  the  lines  of  the  youth's  body  are  also  drawn 
in  detail,  although  his  garment  still  remains  to  show  that  it  was  not 
intended  to  be  seen.  The  freedom  with  which  the  woman  is  drawn 
can  be  paralleled  only  on  several  of  the  vases  just  discussed.  The 
gesture  of  the  youth  is  mentioned  under  no.  24. 

24.  Athens,  Private  Collection.     Attica.     H.  0.395  m- 

The  normal  palmettes  on  the  shoulder  and  the  unbroken  maeander  are  drawn  in  a 
color  that  is  now  brown.  The  scene  is  drawn  in  glaze;  the  hair  also  is  drawn  in  brown 
glaze  with  a  fine  brush.  Dark  red  is  used  for  a  garment. 

On  two  steps  stands  a  slender  shaft  crowned  with  scrolls  and  a  palmette. 

At  the  left  a  woman  in  profile  approaches  with  head  bowed,  holding  out  an  alabastron 
on  her  right  hand.  Her  chiton  has  disappeared,  but  the  dark  red  himation  remains; 
her  hair  is  rolled  in  a  flat  knot  at  the  back  of  the  head. 

At  the  right  a  (nearly  effaced)  woman  stands  in  partial  profile  with  her  head  bowed. 
Apparently  her  left  hand  was  not  covered  by  the  himation,  and  her  right  hand  was  raised 
slightly  toward  the  stele. 

I  have  been  unable  to  compare  this  lekythos  in  detail  with  no.  22, 
but  the  scene  is  almost  exactly  the  same.  The  stele  is  of  the  same  type, 
the  figure  at  the  left  is  unchanged,  and  on  the  right  the  attitude  is  the 
same  though  the  person  seems  to  be  a  woman.  The  hand  slightly 
raised  toward  the  stele  might  be  simply  an  unsuccessful  attempt 
to  draw  the  hand  as  it  hung  at  the  side;  probably  the  artist  was 
trying  to  indicate  that  the  hand  was  just  being  raised  toward  the 
stele.1 

25.  Munich,  Inven.  2170.     H.  about  0.35  m.     Plate  XIV,  2. 

The  egg-pattern  and  normal  palmettes  on  the  shoulder  as  well  as  the  complicated 
unbroken  maeander  are  drawn  in  a  dull  dark  brown.  Drawn  in  not  very  fine  lines  of 
brown  glaze.  Dull  brown  is  used  for  a  taenia,  and  a  color  now  purple  for  one  garment. 
The  preliminary  sketch  in  transparent  lines  may  be  traced  in  places. 

On  three  steps  of  decreasing  height  stands  a  slender  shaft  surmounted  by  egg  mould- 
ing, scrolls,  and  palmette;  two  or  three  taeniae  are  tied  about  the  shaft,  the  upper  ones 
once  red,  the  lower  now  brown.  On  the  steps  are  the  two  parts  of  a  broken  hydria, 
carefully  drawn.  On  the  second  step  at  the  left  a  child  is  drawn  as  if  approaching  the 
stele,  which  it  touches  with  its  right  hand;  the  garment,  which  hung  below  the  knees, 
has  now  disappeared.  In  the  preliminary  sketch  the  steps  were  much  higher. 

At  the  left  a  woman  (in  partial  profile)  approaches  and  on  her  left  hand  holds  out 
a  smegmatotheke  toward  the  stele;  her  right  hand  is  drawn  awkwardly  as  slightly  raised 
from  her  side.  The  sleeve  (?)  chiton  has  disappeared;  the  hair  is  in  short  close  curls 
about  her  head. 

At  the  right  stands  another  woman  in  partial  profile,  her  left  leg  relaxed;  on  her  left 

1  On  nos.  4  and  5  of  the  present  series  the  hand  is  raised  just  a  little  higher,  but  on  no.  22  the  posi- 
tion is  the  same  as  here.  Cp.  also  Class  V,  nos.  46,  48,  and  483. 


GROUP   C:   CLASS  VI,    i,  24-25  279 

arm  she  carries  a  flat  basket  of  taeniae;  her  right  hand  is  raised  to  her  head  in  gesture 
of  mourning.  Her  chiton  has  disappeared;  a  dull  purple  himation  is  still  visible;  her 
hair  is  drawn  in  the  same  manner  as  her  companion's,  but  there  seems  to  be  a  flat  knot 
at  the  back  of  her  head. 

The  only  other  instance  of  a  child  appearing  in  scenes  on  lekythoi 
of  Class  VI  is  the  child  at  its  mother's  feet  on  top  of  the  stele  on  no.  14 
above  (Athens,  Nat.  Mus.  1815);  the  treatment  of  the  child  figure  is 
much  the  same  there  as  here.  The  presence  of  the  child  and  of  the 
broken  hydria  here  can  only  be  explained  as  examples  of  the  literalism 
of  this  painter.  The  two  women  come  with  offerings  to  the  grave, 
and  the  child  follows  them  to  play  about  the  tombstone.  At  the  same 
time  the  painter  may  have  used  this  device,  as  he  used  the  hunting 
scene  on  no.  I,  to  indicate  the  nature  of  the  person  buried  here;  this 
lekythos  would  then  be  intended  for  use  at  the  burial  of  a  young  mother, 
as  that  was  used  at  the  burial  of  a  youth  fond  of  hunting.  The  presence 
of  a  child  with  a  bird  at  the  stele  on  a  lekythos  drawn  in  dull  color  1 
should  also  be  compared,  though  in  that  case  the  figure  is  probably 
taken  from  a  grave  stele. 

The  presence  of  a  hydria  at  the  grave  is  unusual.  On  a  lekythos 
with  drawing  in  dull  color  at  Athens  2  a  young  woman  with  hydria 
on  her  head  accompanies  another  woman  bringing  a  basket  of  taeniae; 
and  on  a  very  interesting  lekythos  of  somewhat  later  date  at  Karlsruhe  3 
one  woman  pours  water  (?)  from  a  hydria  while  her  companion  holds 
out  a  patera.  Apparently  the  presence  of  the  hydria  here  alludes  to 
its  use  in  the  ritual  at  the  grave.  The  fact  that  it  is  broken  recalls  other 
cases  where  vessels  dedicated  at  the  grave  are  found  broken  when  the 
worshipper  returns.4  It  may  be  that  this  hydria  was  left  at  the  grave 
after  being  used  once  and  that  these  worshippers  find  it  broken  on  their 
return. 

The  types  of  the  two  women  are  already  familiar,  and  the  delicate 
drawing  of  the  faces  resembles  the  work  on  the  preceding  four  or  five 
specimens.  The  awkward  position  of  the  slightly  raised  right  hand 
of  the  left-hand  figure  was  noted  in  connection  with  nos.  4  and  5. 
The  drawing  of  the  hair  in  short  curls  is  not  unlike  that  on  no.  22, 
though  the  curls  stand  out  more  distinctly  here. 

1  Athens,  Nat.  Mus.  1768,  Class  X,  with  drawing  in  dull  color. 

2  Nat.  Mus.  1760,  Class  X,  with  drawing  in  dull  color. 
8  Karlsruhe,  Cat.  ff^ian.  134. 

*  Cf.  Bosanquet  in  Jour.  Hell.  Stud.  1899,  p.  171,  with  reference*  in  note  i  to  Atk.  Minh.  XVI, 
Taf.  viii,  and  Burlington  dub  Catalogue  (1888)  no.  no.  The  mention  of*  Athens,  Nat.  Mus.  1981  in 
that  note  U  apparently  an  error. 


28o  ATHENIAN  WHITE   LEKYTHOI 

Conclusion  of  Class  VI,  Series  I 

Though  the  vases  of  the  present  series  were  made  at  about  the  same 
time,  it  was  a  period  of  experiment,  and  the  series  is  much  less  homoge- 
neous than  those  of  Class  V  or  many  series  that  follow.  The  size  varies 
from  0.20  m.  to  nearly  0.50  m.,  though  most  of  the  vases  are  about 
0.35  m.  in  height.  Both  the  slender  cylindrical  shape  and  the  slightly 
heavier  type  with  flat  shoulder  and  body  that  swells  a  very  little  are 
represented.  The  slip  is  sometimes  a  little  more  chalky  than  in  Class  V. 
On  the  shoulder  the  palmettes  are  drawn  in  dull  black,  with  red  leaves 
occasionally  added;  a  dull  pink  is  also  used  instead  of  the  black,  and 
twice  (nos.  4  and  5)  a  peculiar  pattern  is  employed  for  the  palmettes. 
The  maeander  is  drawn  either  in  glaze  or  in  dull  color  like  the  palmettes, 
and  that  apparently  without  any  fixed  relation  to  the  style  in  which 
the  scene  is  drawn.  It  is  rarely  broken,  as  in  Class  V,  by  dotted  oblique 
squares.  In  one  instance  it  is  broken  for  the  top  of  the  high  stele, 
showing  that  both  the  maeander  and  the  enclosing  lines  were  drawn 
after  the  top  of  the  stele.  The  drawing  is  now  in  fine  lines,  now  in 
rather  coarse  lines  of  glaze;  and  the  glaze  varies  from  light  yellow  in 
some  cases  to  nearly  black  in  others.  More  frequently  than  before  the 
hair  is  drawn  in  separate  strokes  with  the  brush  used  for  the  outlines. 
The  more  common  colors  used  for  garments  are  vermilion  and  dark 
red;  blue  occurs  more  than  once,  and  some  color  which  has  completely 
faded  was  often  used.  The  preliminary  sketch  in  transparent  shiny 
lines  may  often  be  detected. 

The  scene  is  always  located  at  the  grave  and  the  stele  is  present, 
one  Charon  scene  excepted.  In  almost  every  instance  one  or  more 
women  are  bringing  offerings  to  the  grave.  In  many  of  the  scenes  one 
figure,  usually  the  figure  at  the  right,  seems  to  represent  the  dead  per- 
son himself.  In  the  idealized  burial  scenes,  winged  figures  bring  the 
body  of  the  dead;  in  the  Charon  scene  and  on  nos.  16  and  24  a  com- 
pletely draped  figur.e  is  apparently  the  dead  person;  again  the  figure 
of  an  ephebos,  either  nude  or  with  some  small  garment,  seems  to  be  the 
dead  youth  idealized  as  would  be  the  case  in  a  statue  or  painting  (see 
nos.  4,  10,  12,  13  on  stele,  21,  22).  In  a  particularly  interesting  set  of 
scenes  it  seems  to  have  been  the  purpose  of  the  painter  to  represent 
the  figures  in  some  activity  of  daily  life,  as  was  normally  the  case  on 
later  grave  stelai  (no.  14  on  the  stele;  nos.  I,  hunting  scene,  6  and  8, 
scenes  of  departure,  and  20,  armor  brought  to  a  warrior);  in  these 
cases  the  stele  is  present  to  show  that  the  scene  of  daily  life  applies  to 


GROUP   C:   CLASS   VI,  2,  i  281 

a  dead  person.  The  Charon  scene,  the  scene  of  burial  by  winged  genii, 
and  perhaps  the  presentation  of  tablets  at  the  stele  (no.  10)  indicate 
the  poetic  instinct  of  these  painters,  for  the  scenes  in  question  had 
hardly  yet  become  stereotyped.  On  the  other  hand,  the  scenes,  e.g.  on 
nos.  5,  ii,  15,  25,  prove  their  interest  in  the  literal  reproduction  of 
what  occurred  at  the  grave.  The  general  lines  of  the  figures,  however, 
reproduce  a  few  types,  e.g.  a  youth  leaning  forward  on  his  staff  (14,  16, 
19,  23),  a  bearded  man  with  right  hand  on  staff  (9,  13,  15),  a  woman 
carrying  a  basket  on  her  left  arm  and  steadying  it  with  her  right  hand 
(4,  9,  17,  13,  15),  a  stiff  figure  seen  en  face  (5,  6,  14),  a  woman  ad- 
vancing with  bowed  head  (18,  19,  20,  21,  25),  a  person  with  right  hand 
slightly  raised  (4,  5,  19,  21,  14,  25).  It  may  be  noted  that  the  objects 
in  the  field,  which  in  Class  V  marked  many  of  the  scenes  as  originally 
domestic,  have  all  but  disappeared  from  these  scenes  at  the  grave. 

The  connection  of  these  lekythoi  with  preceding  classes  is  evident 
from  what  has  been  said  about  the  types  of  figures  reproduced.  The 
presence  of  the  smegmatotheke  on  a  number  of  these  vases  is  probably 
due  to  the  tradition  of  the  vase  painter,  though  it  fairly  indicates  that 
acts  connected  with  the  toilet  had  their  place  in  worship  at  the  grave. 
It  has  already  been  pointed  out  that  the  first  two  classes  of  lekythoi 
with  drawing  in  dull  color  are  clearly  anticipated  here,  if  indeed  their 
manufacture  had  not  already  been  begun.  Nos.  1 1  to  16  are  connected 
with  that  class  in  which  the  lines  resemble  a  pencil  line  in  their  broken 
character,  the  profile  of  the  faces  is  angular,  and  the  stele  top  is  usually 
square  (Class  IX).  Numbers  19  to  25  belong  with  the  second  class, 
on  which  the  lines  are  fine  and  even,  the  stele  usually  has  a  scroll  and 
palmette  at  the  top,  and  both  figure  and  face  are  delicately  drawn 
(Class  X). 


Series  2.    The  scene  is  drawn  in  dull  color  (pink),  but  the  maeander 
on  the  shoulder  and  usually  the  palmettes  are  in  glaze. 

The  palmettes  on  the  shoulder  of  these  lekythoi  repeat  the  type 
normal  in  Class  V;  the  maeander,  also,  is  often  broken  by  dotted  oblique 
crosses  and  reversing  as  in  that  class;  both  are  drawn  in  dark  brown 
glaze.  The  scene,  on  the  other  hand,  is  drawn  in  lines  of  dull  color 
which  is  now  pink  or  purplish  (rarely  gray);  this  color  has  faded  badly 
in  many  instances  so  that  the  scene  is  not  very  distinct. 

i.    Athens,  Nat.  Mus.  1819,  Cv.  1805.     Eretria.     H.  0.415  m. 


282  ATHENIAN  WHITE   LEKYTHOI 

The  egg-pattern  and  palmettes  on  the  shoulder  are  typical;  the  maeander  is  broken 
by  dotted  oblique  crosses,  reversing.  The  scene  is  drawn  in  fine  lines  of  pink,  nearly 
faded;  no  other  color  remains. 

On  two  steps  stands  a  slender  shaft  crowned  with  scrolls  and  high  palmette;  about 
the  shaft  are  fastened  taeniae. 

At  the  left  a  youth  in  partial  profile  stands,  his  right  hand  on  his  hip  and  in  his  left 
hand  a  spear.  He  wears  a  chlamys. 

At  the  right  a  woman  in  profile  approaches,  holding  out  a  taenia  in  both  hands. 
She  wears  a  sleeveless  outline  chiton. 

2.  Athens,  Nat.  Mus.  1820,  Cv.  1728.     H.  0.41  m. 

The  egg-pattern  and  palmettes  on  the  shoulder  are  typical;  the  maeander  is  broken 
by  dotted  oblique  crosses  reversing.  The  scene  is  drawn  in  fine  lines  of  dull  pink,  nearly 
faded;  red  is  used  for  one  garment,  and  on  another  are  traces  of  perpendicular  stripes. 

On  two  steps  stands  a  slender  shaft  crowned  with  scrolls  and  high  palmette. 

At  the  left  is  a  youth  leaning  on  his  staff.  On  his  shoulder  hangs  a  petasos  and  at 
his  side  a  sword;  on  his  left  arm  is  a  red  garment. 

At  the  right  a  woman  stands  in  profile,  holding  out  an  outline  taenia  in  both  hands. 
She  wears  a  sleeveless  chiton  with  traces  of  perpendicular  purplish  stripes.  Apparently 
her  hair  is  short. 

3.  Athens,   Nat.   Mus.    1965,   Cv.    1686.     Eretria.     H.   0.385   m. 
AeXriov,  1889,  a-.  77,  8. 

The  egg-pattern  and  palmettes  on  the  shoulder  are  typical;  the  maeander  is  broken 
by  dotted  oblique  crosses,  reversing.  The  scene  is  drawn  in  fine  lines  of  dull  pink; 
red  is  used  on  one  garment. 

On  three  steps  stands  a  slender  stele  crowned  with  scrolls  and  normal  palmette. 

At  the  left  stands  a  woman  in  profile,  holding  up  an  outline  taenia.  She  wears 
a  sleeve  chiton  in  outline;  her  hair  is  in  a  knot  held  up  by  a  wide  band.  The  hands  are 
very  careful;  the  chin  is  rather  square. 

At  the  right  stands  a  bearded  man  carrying  a  spear  in  his  right  hand  and  a  shield 
on  his  left  arm.  He  wears  a  short  chiton  and  perhaps  a  corselet  over  it;  above  and 
below  are  bands  of  red  with  rays  pointing  away  from  the  edge;  on  his  head  is  a  Corin- 
thian (?)  helmet. 

4.  Athens,    Nat.    Mus.    1992,    Cv.    1740.     Eretria.     H.    0.35    m. 
AeXrtoi/,  1889,  cr.  246,  14. 

The  egg-pattern  and  palmettes  on  the  shoulder  are  typical;  the  maeander  is  broken 
by  dotted  oblique  crosses,  reversing.  The  scene  is  drawn  in  fine  lines  of  dull  pink; 
dark  red  with  black  fold-lines  is  used  for  one  garment. 

On  two  steps  stands  a  slender  shaft  with  simple  capital;  about  it  are  fastened  taeniae. 

At  the  left  a  woman  in  profile  stands  holding  out  a  taenia  (?)  in  both  hands.  She 
wears  a  sleeve  chiton  drawn  in  outline. 

At  the  right  stands  a  youth  in  partial  profile,  his  right  hand  on  a  staff.  He  wears  a 
short  chiton,  and  a  chlamys  which  is  held  in  place  by  a  brooch  on  his  shoulder. 


GROUP   C:   CLASS   VI,  2,  2-5  283 

The  workmanship  on  these  four  lekythoi  is  so  similar  that  they  may 
well  have  come  from  the  same  hand.  The  woman  holding  out  a  taenia 
in  both  hands  is  found  on  three  if  not  on  all  four  of  them;  on  three 
the  other  figure  is  a  warrior;  and  on  all  is  found  that  delicate  drawing, 
especially  of  the  hands,  which  characterizes  the  more  typical  members 
of  the  present  series.  The  use  of  garments  drawn  in  outline  may  be 
an  attempt  to  indicate  transparent  material,  but  more  probably  it  is 
simply  a  tradition  carried  over  from  lekythoi  drawn  in  glaze  outline 
before  the  use  of  dull  color  for  garments  became  general. 

5.  Paris,  Cab.  Med.  4908,  de  Ridder,  504.  H.  0.463  m.  Cat. 
Rouen,  62,  p.  9;  Gaz.  Arch.  1885,  p.  277  f.,  pi.  31. 

The  egg-pattern  and  palmettes  are  typical,  except  that  alternate  leaves  of  the  pal- 
mettes  are  a  reddish  brown;  the  maeander  is  broken  by  dotted  oblique  crosses,  reversing; 
below  the  scene  is  a  simple  maeander.  The  scene  is  drawn  in  rather  fine  lines  of  red; 
the  hair  is  drawn  in  thicker  color  with  the  same  brush;  dark  red  and  dull  black  are  used 
for  garments. 

On  two  steps  stands  a  slender  stele  crowned  with  egg-pattern,  scrolls,  and  palmettes; 
black  taeniae  are  tied  about  the  shaft.  The  centre  of  the  palmette  has  the  red-brown 
color,  and  between  the  scrolls  is  a  flower  pointing  down. 

At  the  left  a  nude  bearded  man  leans  forward  on  the  staff  under  his  left  shoulder, 
about  the  top  of  which  is  his  gray  garment.  Both  legs  are  bent,  and  the  left  foot  is  drawn 
back.  The  profile  is  drawn  with  great  care,  and  the  hair  indicated  in  detail. 

At  the  right  a  woman  stands  en  face,  slightly  raising  her  right  hand,  palm  out,  toward 
the  stele.  The  sleeve  chiton  has  all  but  disappeared;  the  red  himation  covers  her  left 
hand  and  descends  nearly  to  her  ankles. 

There  are  a  few  traces  of  restoration  on  this  vase,  e.g.  the  steps  of 
the  stele,  but  on  the  whole  it  seems  to  be  genuine  in  its  details.  The 
splendid  figure  of  the  bearded  man  leaning  on  his  stafF  is  an  example 
of  what  the  lekythos  painter  could  do  when  he  chose  without  going 
outside  the  types  that  were  handed  down  to  him.  The  treatment  of 
the  anatomy  in  a  very. few  lines  and  the  fine  male  head  are  hardly 
excelled  on  any  Greek  vase.  The  hands  of  both  figures  are  very  deli- 
cately handled,  but,  as  is  often  the  case  on  lekythoi,  the  second  figure 
shows  more  hasty  work.  It  is  suggested  by  Pottier  in  the  Gazette 
Archeologique  that  the  scene  should  be  interpreted  as  a  visit  of  parents 
to  the  grave,  and  that  the  woman's  gesture  means  that  she  is  talking 
to  the  tomb,  i.e.  to  the  dead  person.  Such  an  interpretation  leaves 
out  of  account  the  absence  of  clothing  on  the  man,  and  the  close  associa- 
tion of  the  two  figures.  It  would  seem  to  me  more  natural  to  regard 
it  as  a  scene  in  which  the  wife  brings  some  request  to  her  husband; 
the  stele  marks  the  connection  of  the  scene  with  death;  and  the  idealized 


284  ATHENIAN  WHITE  LEKYTHOI 

figure  of  the  man  suggests  that  he  is  the  dead  person  with  whom  his 
wife  seeks  some  connection. 

6.  Athens,    Nat.    Mus.    1940,    Cv.    1754.     Eretria.     H.    0.37    m. 
AeXruw,  1889,  a-.  173,  I. 

The  egg-pattern  and  palmettes  on  the  shoulder  are  typical;  the  maeander  is  broken 
by  dotted  oblique  crosses,  reversing.  The  scene  is  drawn  in  faded  red  lines;  dark  red, 
yellow,  and  a  violet  wash  are  used  for  garments  and  accessories. 

On  three  steps  stands  a  short  stele  with  round  top;    about  the  shaft  is  a  red  taenia. 

At  the  left  a  woman  approaches,  holding  out  her  left  hand,  palm  up,  and  with  her 
right  hand  grasping  the  garment  in  front  of  her  breast.  Her  chiton  has  disappeared; 
the  himation  is  yellow  with  black  fold-lines,  and  an  edge  of  violet  wash;  her  hair  is  all 
in  a  cloth. 

At  the  right  Hermes  has  started  to  go  away  from  the  stele,  and  turns  back,  holding 
the  kerykeion  behind  him  with  his  right  hand.  His  short  chiton  is  dark  red  with  darker 
fold-lines;  a  thick  yellow  paint  is  used  for  his  hair  and  beard;  on  his  head  is  a  round 
cap. 

The  use  of  thick  yellow  paint  for  the  hair  of  Hermes  is  an  interesting 
reminiscence  of  the  yellow  hair  which  was  earlier  made  by  the  use  of 
thin  glaze;  that  experiment  seems  to  have  been  abandoned  as  a  failure. 
The  presence  of  Hermes  is  probably  to  be  explained  on  the  same  prin- 
ciple as  his  presence  in  the  scene  with  Charon,  i.e.  it  is  Hermes  Psy- 
chopompos  who  has  come  to  conduct  the  soul  of  the  woman  to  the 
lower  world.  He  turns  back  to  her  as  he  starts  to  lead  the  way,  and 
beckons  her  with  his  wand  to  follow.  And  the  woman  holds  out  one 
hand  as  though  to  plead  with  him,  while  her  other  hand  with  a  gesture 
of  shrinking  draws  her  garment  more  closely  about  her  person.  This 
last  gesture  occurred  on  no.  6  of  series  i  (Athens,  Nat.  Mus.  1761). 
The  explanation  which  has  been  given  may  seem  to  leave  out  of  account 
the  stele;  its  presence  here  and  on  several  lekythoi  which  have  already 
been  discussed  l  is  due  partly  to  tradition,  partly  to  the  desire  that  the 
scene  be  marked  as  connected  with  the  grave. 

While  this  lekythos  is  not  so  carefully  drawn  as  no.  5,  the  skill  and 
delicacy  of  the  drawing  in  the  typical  members  of  this  series  is  beauti- 
fully exemplified  here. 

7.  Bologna,  Mus.    Civ.    363.     Athens.     H.    0.415    m.     Pellegrini, 
Cat.,  Tav.  iii. 

The  egg-pattern  and  the  palmettes  on  the  shoulder  are  typical  except  that  the  alter- 
nate leaves  of  the  palmettes  are  red;  the  maeander  is  broken  by  dotted  oblique  crosses, 
reversing.  The  scene  is  drawn  in  a  deep  red;  the  bodies  of  both  figures  were  sketched 

1  Series  i,  nos.  I,  6,  20, 


GROUP   C:    CLASS   VI,  2,  7-8  285 

in  the  same  color  as  the  outlines  before  the  garments  were  added ;  the  folds  of  the  garments 
are  indicated  by  lines  which  now  are  a  purplish  gray. 

At  the  left  a  woman  stands  in  profile,  holding  out  a  smegmatotheke  on  her  right  hand 
and  extending  her  left  hand  as  though  to  receive  something  from  her  attendant.  She 
wears  a  sleeve  chiton  with  a  loose  fold  from  the  girdle  (or  from  the  shoulder  ?);  her  hair 
is  in  a  protruding  knot  behind,  held  up  by  a  wide  taenia.  Partly  behind  her  is  a  stool 
with  a  red  cushion. 

Her  companion  is  a  young  woman  standing  en  fact;  on  her  left  arm  she  carries  a 
large  box  or  casket,  and  her  right  hand  is  raised  a  little  as  though  she  were  about  to  give 
something  to  her  mistress.  She  wears  a  sleeveless  chiton  with  a  long  loose  overfold  from 
the  shoulder;  her  hair  is  short. 

In  the  field  a  mirror  hangs  in  the  centre,  and  at  the  right  a  sakkos. 

It  is  hardly  necessary  to  point  out  the  similarity  between  this  scene 
and  that  on  several  vases  of  the  "  academic"  series  of  Class  V.1  Though 
there  is  no  striking  likeness  in  the  drawing  the  types  of  the  figures  are 
the  same,  the  stool  appears  in  the  same  form,  and  the  objects  hanging 
in  the  field  are  the  same.  According  to  the  Bologna  catalogue  there 
is  record  of  an  inscription  which  was  once  to  be  seen  but  has  since 
disappeared.  It  is  possible  that  the  likeness  to  the  "academic" 
series  included  a  "kalos"  inscription,  though  it  is  hardly  likely  that 
it  should  have  completely  disappeared;  I  know  of  no  other  lekythos 
with  drawing  in  dull  color  on  which  an  inscription  is  found.  Although 
there  is  no  question  that  Classes  V  and  VI  overlap  or  even  are  almost 
contemporaneous,  the  present  vase  seems  like  an  imitation  of  the 
similar  vases  in  Class  V,  an  imitation  which  might  have  been  made  at  a 
somewhat  later  time  and  which  quite  surely  did  not  come  from  the 
same  hand  as  the  "academic"  lekythoi.  The  color  of  the  lines  on 
this  vase  is  not  at  all  so  purple  as  on  the  vases  which  precede  and 
follow,  but  the  difference  may  well  be  due  to  a  difference  in  the  con- 
ditions to  which  the  vases  were  exposed  in  their  long  burial. 

8.  Berlin,  Furtw.  2449.  Athens.  H.  0.335  m.  Furtwangler, 
Sammlung  Sabouroff,  Taf.  Ix,  I. 

The  egg-pattern  and  the  palmettes  are  normal  except  that  alternate  leaves  of  the 
palmettes  are  red;  the  maeander  is  broken  by  dotted  oblique  crosses,  reversing.  The 
scene  is  drawn  in  dull  red;  red  is  used  for  a  garment  and  dull  black  for  some  details. 

The  scene  is  one  of  preparation  to  go  to  the  grave.  Seated  at  the  right,  in  a  chair 
with  back,  is  a  woman  who  holds  on  her  knees  a  basket  containing  red  and  black  taeniae. 
She  raises  her  right  hand  to  take  something  from  the  maid.  She  wears  a  red  chiton  with 
full  sleeves.  Her  hair  is  held  by  a  wide  taenia  (reserved  white)  and  hangs  down  in  a  long 
knot  behind. 

At  the  left  her  attendant,  a  young  woman,  stands  holding  in  her  left  hand  a  large 

1  E.g.  CUM  V,  no.  36,  Brit.  Mu».  D  48. 


286 

open  box  from  which  she  is  taking  something  with  her  right  hand.     The  lid  of  the  box 
stands  erect  without  support.     She  wears  a  Doric  chiton  in  outline;   her  head  is  bent  well 
forward,  and  her  hair  is  in  a  knot  flat  against  the  head. 
In  the  field  above  hangs  a  sakkos. 

9.  Berlin,    Furtw.    2450.      Athens.      H.   0.31    m.      Furtwangler, 
Samm.  Sab.  Taf.  Ix,  2. 

The  shoulder  ornament  and  maeander  are  the  same  as  on  no.  3.  The  scene  is  drawn 
in  the  same  dull  red;  dark  red  is  used  for  garments,  dark  green  and  black  for  details. 

On  two  steps  stands  a  slender  shaft  crowned  with  large  scrolls  and  relatively  small 
palmette;  about  the  shaft  are  tied  two  red  taeniae  with  green  ends. 

At  the  left  on  a  pile  of  stones  (grave  mound  ?)  drawn  in  black  outline  a  youth  sits  in 
profile  and  plays  a  cithara  which  also  is  in  profile.  He  has  a  dark  red  himation  over  his 
knees  and  sandals  on  his  feet;  his  hair  is  rolled  up  in  a  small  knot. 

At  the  right  a  young  woman  in  profile  approaches  with  bowed  head,  holding  out  in 
both  hands  a  dark  green  taenia.  She  wears  a  sleeve  chiton,  open  at  the  side,  which  shows 
traces  of  red  at  the  top  and  bottom;  her  hair  is  in  a  flat  coil  at  the  base  of  her  head. 

These  two  fine  lekythoi  are  evidently  a  pair,  in  spite  of  the  difference 
of  scene;  for  this  painter  the  preparation  to  go  to  the  grave  and  the 
worship  at  the  grave  are  equally  appropriate  subjects.  Scenes  of 
preparation  were  familiar  in  Class  V  1  and  the  earlier  classes,  but  thus 
far  in  Class  VI  (with  the  possible  exception  of  no.  7,  Bologna,  363) 
they  have  not  been  found.  The  second  of  the  two  is  a  definite  scene 
of  worship :  at  the  left  the  dead  youth  seated  and  playing  the  lyre 
as  was  his  wont  when  alive,  at  the  right  a  woman  bringing  a  taenia  to 
deck  the  stele.  The  representation  of  a  dead  youth  playing  a  lyre  at 
the  grave  occurs  several  times  on  later  lekythoi; 2  though  other  ex- 
planations have  been  offered,  I  believe  this  scene  should  be  classed 
with  no.  i  of  series  I  and  others  already  noted  where  either  one  figure 
or  the  whole  scene  follows  the  same  principle  as  the  grave  relief  in 
showing  the  dead  person  engaged  in  a  characteristic  occupation  of  his 
lifetime.  The  lyre  is  drawn  in  profile  on  one  of  the  later  lekythoi  of 
Class  IV;  on  several  lekythoi  of  Class  V  it  is  seen  from  the  front.3 

10.  Athens,  Private  Collection.    Tanagra.     H.  0.385  m. 

The  egg-pattern  and  palmettes  on  the  shoulder  are  typical ;  the  maeander  is  unbroken. 
The  scene  is  drawn  in  dull  red;  dark  red  and  vermilion  are  used  for  garments  and  acces- 
sories. 

1  V,  no.  35,  Worcester,  and  no.  48,  Vienna,  Hofmus.  1873  ;  no.  63,  Athens,  Nat.  Mus.  1943,  and  no. 
65,  Boston,  P.  6544. 

2  Lekythoi  with  drawing  in  dull  color ;   Class  IX,  Louvre  CA  612,  at  the  left  a  youth  seated  in  a  chair 
plays  the  lyre,   at  the  right  a  woman  holding  a  hare  decks  the  stele;   Class  X,  Louvre  MNB  1729,  Pettier, 
Licythti  blanct,  pi.  iv,  youth  playing  lyre  seated  on  the  steps  of  the  stele,  while  two  men  seem  to  be  conversing 
with  him. 

8  Lyre  in  profile,  B  IV  2,  no.  12,  coll.  von  Branteghem  ;  cf.  Class  V,  33  and  45. 


GROUP   C:   CLASS   VI,  2,  9-12  287 

On  two  steps  stands  a  slender  stele  crowned  with  egg  moulding,  large  scrolls,  and 
small  palmette.  On  the  shaft  are  three  vermilion  taeniae. 

At  the  left  a  youth  stands  in  profile  with  head  bowed.  He  holds  out  his  right  hand, 
palm  up,  toward  the  stele;  the  dark  red  himation  covers  his  left  hand. 

At  the  right  stands  a  young  woman  in  profile  holding  out  a  smegmatotheke  on  her 
left  hand,  and  in  the  act  of  raising  her  right  hand  toward  the  stele  with  a  vermilion  taenia. 
She  wears  a  sleeve  chiton  with  long  overfold  ungirded,  drawn  in  outline;  her  hair  is  in  a 
flat  coil  and  is  held  by  a  wide  band  (reserved  white). 

11.  Athens,  Dealer's  Shop.     Athens.     H.  about  0.40  m. 

The  shoulder  ornament  and  the  maeander  have  disappeared.  The  scene  is  drawn 
in  dark  red. 

On  two  steps  stands  a  slender  stele  crowned  with  scrolls  and  a  small  palmette  in  solid 
color. 

At  the  left  stands  a  youth  holding  two  spears  in  his  right  hand.  He  wears  a  blue 
chlamys. 

At  the  right  stands  a  woman  carrying  a  flat  basket  on  her  left  arm  and  holding  out 
her  right  hand  toward  the  stele,  palm  up.  She  wears  an  outline  chiton  and  a  blue  hima- 
tion. 

Although  the  ornamentation  of  no.  10  is  like  that  of  the  preceding 
numbers,  the  style  of  the  drawing  is  quite  different.  The  two  stiff 
figures  in  full  profile,  the  small  heads,  and  somewhat  angular  profile 
recall  at  once  the  style  of  series  e  in  Class  V.  The  woman  with  the 
taenia  occurs  as  on  the  preceding  vases,  and  this  form  of  anthemion 
may  be  classed  with  those  found  before  in  this  series  as  experiments 
leading  up  to  the  form  which  later  become  typical.  The  classification 
of  no.  1 1  is  somewhat  doubtful  because  of  the  absence  of  shoulder 
ornament  and  maeander.  It  is  placed  here  because  both  the  stele 
and  the  style  of  the  drawing  resemble  that  found  on  no.  10. 

12.  London,  Brit.  Mus.  D  56.     Eretria.     H.   15  in.     White  Atb. 
Pases,  pi.  xiii. 

The  egg-pattern  and  palmettes  on  the  shoulder  are  typical ;  the  maeander  is  unbroken. 
The  scene  is  drawn  in  gray  lines,  now  nearly  faded ;  the  hair  is  in  fine  strokes  of  the  same; 
vermilion  with  black  lines,  a  yellow  brown,  and  dull  black  are  used  for  garments  and 
details. 

On  a  long  plinth  rises  a  grave  tumulus,  on  top  of  which  is  a  base  and  a  small  stele. 
On  the  front  of  the  plinth  are  five  small  circles  along  the  bottom;  on  top  of  it  (inside  the 
mound  ?)  are  two  small  pitchers,  two  lekythoi,  a  krater,  a  lyre,  and  a  wreath,  arranged 
symmetrically;  wreaths  and  taeniae  are  tied  about  the  shaft;  on  the  top  of  the  tumulus 
sits  an  owl  and  two  taeniae  hang  down  over  it. 

At  the  left  and  partly  behind  the  tumulus  stands  a  youth  in  profile,  playing  a  lyre. 
He  wears  a  large  vermilion  chlamys  (black  fold-lines),  and  on  his  shoulder  hangs  a  petasos. 

At  the  right  a  youth  closely  draped  in  a  large  brown  himation  leans  well  forward, 
resting  his  right  hand  on  a  staff. 


288  ATHENIAN  WHITE   LEKYTHOI 

The  combination  of  a  tumulus  and  stele  has  already  been  noticed 
on  several  lekythoi  of  Class  V,1  and  in  Classes  VII  and  VIII  it  becomes 
a  regular  type  of  grave  monument.2  What  is  apparently  a  double 
stele3  should  perhaps  be  explained  as  the  combination  of  a  receptacle 
for  the  dead  with  a  stele  proper.  The  holes  along  the  bottom  of  the 
plinth  have  been  discussed  above.4  I  find  no  parallel  for  the  owl 
perched  on  the  tumulus;  it  is  very  faintly  drawn,  as  though  the  artist 
had  started  to  sketch  it  in  and  then  changed  his  mind.  The  represen- 
tation of  the  taeniae  on  the  stele  as  wreaths  is  also  peculiar.  The  most 
interesting  feature  of  the  vase  has  to  do  with  the  row  of  vases,  etc.,  which 
is  drawn  on  the  plinth.  It  is  not  uncommon  to  find  lekythoi  on  the 
steps  below  a  stele,5  but  in  this  instance  I  am  inclined  to  accept  the 
suggestion  of  the  editor  of  the  British  Museum  Catalogue  that  these 
vases  are  to  be  thought  of  as  inside  the  tumulus.  The  only  close  paral- 
lel for  this  conception  on  lekythoi  is  found  on  two  small  specimens 
of  Class  VIII  where  we  seem  to  see  the  dead  person  himself  lying  inside 
the  grave  mound.6 

The  style  of  drawing  on  this  vase,  as  on  no.  10,  instantly  recalls 
series  e  of  Class  V.  That  painter  more  than  once  represented  two 
youths  together;7  his  figures  were  slender  with  long  legs  and  small 
round  heads;  he  used  the  thin  close-set  lips;  the  very  large  chlamys, 
the  yellow-brown  color,  as  well  as  the  red  with  black  fold-lines,  the 
petasos  on  the  shoulder,8  were  part  of  his  apparatus.  Only  with  the 
change  of  paint  from  glaze  to  dull  color  there  appears  the  interesting 
experiment  in  drawing  the  tumulus  and  objects  within  it.  The  style 
is  so  closely  the  same  that  it  can  hardly  be  explained  as  a  later  imitation. 

The  meaning  of  the  scene  does  not  seem  to  be  so  distinctly  evident 
as  on  some  of  the  vases  already  discussed.  I  am  inclined  to  regard 
the  person  with  the  lyre  as  representing  the  dead  youth,  who  is  here 
attended,  not  by  a  worshipper,  but  by  a  companion;  the  two  figures 
together  would  then  be  comparable  to  scenes  with  two  figures  on  grave 
reliefs,  and  the  stele  would  be  added  to  connect  the  scene  with  death. 

1  Stele  on  top  of  tumulus  as   here,  Class  V,  25,  Athens,  Nat.  Mus.   1797;   tumulus  rising  from  one 
of  the  steps  below  the  stele,  V,  22,  Athens,  Nat.  Mus.  1935. 

2  Class  VII,  I,  nos.  17-19;   z,  nos.  17-24. 

8  Class  VI,  I,  no.  10,  Boston,  P.  8440;  no.  u,  Berlin,  Furtw.  2443. 

*  p.  207,  cp.  p.  231  ;  the  holes  are  only  found  on  the  plinth  below  a  tumulus. 

6  E.g.  Class  V,  22,  Athens,  Nat.  Mus.  1935. 

6  VIII,  2,  no.  6,  Brit.  Mus.  D  35  ;   no.  7,  Athens,  Nat.  Mus.  1886. 

7  Class  V,  70,  Brit.  Mus.  D  54  ;   cp.  nos.  66  and  71. 

8  Class  V,  67,  Brit.  Mus.  D  55  ;  no.   69,  Athens,  Nat.  Mus.  1821.       For  the  man  bent  forward  on 
his  staff,  see  Class  V,  66,  Burlington  Fine  Arts  Club,  1888,  Cat.  31  (56). 


GROUP   C:   CLASS   VI,  2,   13-14  289 

13.  Athens,  Nat.  Mus.  1966,  Cv.  1739.   Eretria.   H.  0.38  m.  AcXn'oi/, 
1889,  <r.  78,  ii. 

The  egg-pattern  and  palmettes  on  the  shoulder  are  in  dull  gray  with  added  red  leaves; 
the  maeander  is  in  glaze.  The  scene  is  drawn  in  fine  gray  lines;  dark  red,  green  (  ?), 
and  a  violet  wash  are  used  for  garments  and  accessories.  Apparently  the  slip  is  in  two 
coats,  the  outer  shiny,  and  the  painting  generally  strikes  through  to  the  lower  coat. 

On  one  step  stands  a  stele  crowned  by  a  large  stiff  palmette,  with  small  acanthus  leaves 
added  in  the  violet  wash. 

The  figure  at  the  left  has  all  but  disappeared.  At  the  right  stands  a  youth  holding 
out  an  outline  taenia  in  both  hands.  He  wears  a  greenish  himation;  his  hair  is  dark  red. 

The  only  peculiarity  about  this  vase  which  is  noteworthy  is  the 
presence  of  acanthus  at  the  top  of  the  stele.  These  leaves  and  the  use 
of  a  violet  wash  only  become  general  in  the  third  class  of  lekythoi 
with  outline  drawing  in  dull  color.  The  use  of  red  for  the  hair  when 
the  drawing  is  in  gray  occurs  rarely  on  later  lekythoi;  like  the  yellow 
hair  of  Hermes  on  no.  6,  it  is  to  be  regarded  as  an  unsuccessful  experi- 
ment. 

14.  Athens,  Private  Collection.     Athens.     H.  0.44  m. 

The  palmettes  are  in  dull  brown  with  traces  of  red  leaves;  the  maeander  is  in  glaze. 
The  scene  is  drawn  in  dull  brown  paint. 

At  the  left  a  woman  stands  holding  up  a  mirror  in  her  left  hand  and  extending  her 
right  hand  (for  the  mantle  ?).  She  wears  a  (sleeveless)  chiton;  her  hair  is  held  by  a  cord 
wound  around  it  several  times. 

Facing  her  is  a  young  maid  in  profile,  the  left  leg  relieved.  On  her  left  hand  is  a 
mantle  rolled  up.  She  wears  a  sleeveless  chiton  with  long  overfold. 

In  the  field  hangs  a  mirror. 

The  scene  is  much  the  same  as  that  which  was  described  on  several 
lekythoi  of  Class  V,1  except  that  here  the  mistress  is  using  her  mirror. 
It  is  hardly  likely  that  so  peculiar  a  scene  should  recur  after  it  had 
once  been  dropped;  apparently  this  vase  is  an  experiment  in  the  use 
of  dull  color  which  was  made  at  the  same  time  as  the  "  academic  " 
series,  though  not  necessarily  by  one  of  the  same  workmen.2 


Conclusion    of  Class  VI,    Series    2 

The  vases  considered  in  the  present  series  are  in  the  main  slightly 
higher  and  more  slender  than  those  in  the  first  series  or  in  Class  V. 
The  common  height  is  about  0.40  m.  With  the  slenderer  shape 

1  Woman  and  maid  with  mantle,  Cla»  V,  not.  36,  40-43. 

*  Cf.  no.  7  supra,  which  »how«  the  same  relation  to  Claw  V,  tenet  d,  a»  doe»  this  me. 
TJ 


29o  ATHENIAN  WHITE   LEKYTHOI 

appears  a  slight  swelling  of  the  body  below  the  shoulder,  which  is 
absent  from  the  smaller  and  heavier  lekythoi.  The  egg-pattern  and 
palmettes  on  the  shoulder  are  usually  drawn  in  glaze  in  the  same 
pattern  as  in  Class  V,  and  as  there  red  leaves  may  be  introduced  in  the 
palmettes;  on  two  or  three  specimens  dull  color  is  used  for  the  shoulder 
ornament  as  well  as  for  the  scene.  The  maeander  is  always  in  glaze 
and  commonly  it  repeats  the  type  of  Class  V,  series  d,  i.e.  it  is  broken 
by  dotted  oblique  crosses  and  reverses.  Except  on  nos.  12  and  13 
the  scene  is  drawn  in  a  dull  red  paint  which  is  applied  in  a  thin  state 
and  generally  fades  to  a  faint  purple.  Solid  color  is  not  used  very 
freely  for  garments,  for  the  painter  is  still  working  under  the  tradition 
of  outline  work  in  glaze,  but  a  great  variety  of  colors  are  found:  dark 
red,  vermilion,  blue,  green,  yellowish  brown,  and  a  violet  wash. 

The  scenes  on  these  fourteen  lekythoi  show  some  variety,  though 
the  same  spirit  runs  through  them  all.  The  preparation  to  go  to  the 
grave  (no.  8),  a  scene  long  familiar,  and  the  Hermes  Psychopompos 
(no.  6)  call  for  no  further  comment  than  has  been  given.  On  the 
remainder  of  the  vases,  so  far  as  the  scene  can  be  made  out,  we  find 
either  a  domestic  scene  (with  or  without  an  added  stele),  or  a  scene  in 
which  one  of  the  figures  is  represented  as  he  was  in  life  while  the  other 
figure  is  a  worshipper.  On  nos.  5  and  12  the  dead  person  is  now  con- 
versing with  his  wife,  now  playing  the  lyre  to  a  companion,  and  in  each 
instance  it  is  the  presence  of  the  stele  which  alone  connects  the  scene 
with  death.  The  toilet  scenes  (nos.  7  and  14)  have  no  stele;  they  may 
be  regarded  as  scenes  of  preparation  to  go  to  the  grave,  but  inasmuch 
as  the  painter  has  omitted  all  indication  of  such  a  meaning,  it  seems  to 
me  wiser  to  regard  them  as  simple  domestic  scenes  in  which  the  dead 
woman  is  represented  in  her  home.  On  nos.  1-4  and  9-1 1  the  one 
figure  is  a  woman  bringing  her  worship  to  the  tomb,  the  other  a  man 
who  is  apparently  the  dead  person  represented  as  he  was  remembered 
by  his  survivors. 

There  is  even  more  repetition  of  types  in  this  series  than  in  series  I. 
The  stele  is  commonly  a  shaft  surmounted  by  scrolls  and  palmettes; 
the  anthemion  shows  great  variation  in  detail  as  though  the  painters 
were  working  toward  the  form  which  later  became  typical.  The  com- 
monest figure  is  the  woman  presenting  a  taenia  at  the  stele  (nos.  1-4, 
9,  10,  13  ?);  it  is  this  figure,  combined  with  the  figure  of  a  warrior  or 
youth,  which  lends  a  certain  unity  to  the  series.  The  figures  of  the 
warrior  (1-3,  n),  of  the  man  leaning  on  a  staff  under  his  left  shoulder 
(2,  5),  of  the  man  with  right  hand  on  top  of  his  staff  (4,  12)  are  already 


GROUP  C:   CLASS  VI,  3,  1-3  291 

familiar.    The  gesture  of  the  hand  held  out  toward  the  stele, palm  up, 
(5-6,  10-11)  is  rather  characteristic  of  these  painters. 

The  interesting  point  about  series  I  was  its  anticipations  of  the 
later  classes  of  lekythoi  with  drawing  in  dull  color.  In  this  series  it  is 
interesting  to  note  the  experiments  in  the  use  of  dull  color  along  the 
lines  laid  down  in  Class  V.  The  toilet  scenes  (7,  14),  the  preparation 
to  go  to  the  grave  (8),  and  the  scene  of  dead  man  and  worshipper 
(1-4,  etc.)  continue  the  tradition  of  Class  V,  series  d,  in  a  striking 
manner.  Number  12,  and  in  a  less  degree  nos.  10  and  n,  recall  the 
style  of  drawing  in  Class  V,  series  e.  The  only  noticeable  case  of  an- 
ticipation is  the  presence  of  acanthus  leaves  near  the  top  of  the  stele 
and  the  use  of  violet  wash,  on  no.  13. 


Series  3.    Small  lekythoi  (with  black  neck)  on  which  the  scene  is  drawn 
in  dark  red,  while  the  maeander  is  in  glaze. 

A  few  small  lekythoi  remain  which  would  be  classified  under 
Class  VIII  except  that  the  neck  is  covered  with  black  glaze,  as  on  the 
larger  specimens  of  the  preceding  series.  The  maeander  is  in  glaze, 
while  the  shoulder  ornament  and  the  scene  are  drawn  in  a  dark  red 
which  is  often  applied  in  a  rather  thick  state. 

1.  Athens,  Nat.  Mus.  1867  (Coll.  657),  Cv.  1041.     H.  0.195  m- 

On  the  shoulder  rude  palmettes  in  the  same  paint  as  the  scene.  The  maeander  is 
in  glaze.  The  scene  is  painted  in  a  thick  dark  red. 

A  woman  wearing  a  red  sleeveless  chiton  brings  to  the  stele  a  basket  of  taeniae.  The 
stele  is  a  slender  shaft  with  triangular  top;  about  the  shaft  are  tied  red  taeniae. 

2.  Athens,    Nat.    Mus.    1979,    Cv.    1703.     Eretria.      H.  0.28    m. 
AeXrioi/,  1889,  <r.  214,  7. 

On  the  sloping  shoulder  are  three  palmettes  with  many  leaves  in  dark  red.  The 
simple  maeander  is  in  poor  glaze.  Slip  quite  yellow.  The  scene  is  drawn  in  fine  lines 
of  dark  red. 

At  the  left  a  simple  shaft  crowned  with  egg-moulding  stands  on  one  step.  At  the 
right  a  nude  youth  hurriedly  approaches,  bringing  a  large  stick  or  torch  in  his  right  hand. 
The  anatomy  is  drawn  with  unusual  detail. 

3.  Athens,    Nat.    Mus.    1970,    Cv.    1702.     Eretria.     H.    0.28    m. 
AeXrtW,  1889,  cr.  137,  3. 

The  ornament  and  drawing  are  the  same  as  on  no.  2. 

At  the  left  a  simple  shaft  crowned  with  egg-moulding  stands  on  one  step.  At  the 
right  a  nude  youth  is  fastening  a  dark  red  taenia  about  the  stele. 


292  ATHENIAN  WHITE   LEKYTHOI 

The  somewhat  careful  drawing,  especially  of  the  anatomy,  is 
unusual  on  such  small  lekythoi.  On  a  red-figured  lekythos  at  Athens 
(Nat.  Mus.  1299)  is  found  the  same  style  of  palmettes,  and  the  type  of 
head  is  the  same;  and  on  a  second  red-figured  lekythos  (Athens,  Nat. 
Mus.  1305)  the  large  head  and  detailed  anatomy  of  these  figures  are 
to  be  seen. 

4.  Athens,    Nat.    Mus.    1985,    Cv.    1747.     Eretria.      H.  0.28  m. 
Ae\Tioz/,  1889,  <r.  248,  6. 

The  ornament  and  drawing  are  the  same  as  on  nos.  2  and  3. 

At  the  left  is  a  simple  stele  with  triangular  top.  A  youth  (or  woman  ?)  now  nude, 
brings  a  basket  on  his  left  arm,  and  with  his  right  hand  adjusts  a  taenia  about  the  stele. 

5.  Athens,  Nat.  Mus.  11730.     H.  about  0.30  m. 

On  the  shoulder  red  palmettes  with  few  leaves.  A  series  of  curved  lines  in  glaze  takes 
the  place  of  the  maeander.  The  scene  is  drawn  in  a  dark  red. 

Before  a  slender  stele  a  youth  leans  forward  on  a  stick  under  his  left  shoulder  and 
stretches  out  his  hands  toward  the  stele. 

6.  Athens,    Nat.    Mus.    1991,    Cv.    1745.     Eretria.      H.  0.38  m. 
AeXrtov,  1889,  a.  230,  26. 

The  palmettes  on  the  shoulder  and  the  maeander  have  disappeared.  The  scene  is 
drawn  in  dark  red. 

On  two  steps  stands  a  slender  shaft  crowned  with  scrolls  and  palmette;  taeniae  are 
tied  about  the  shaft. 

At  the  left  a  youth  in  a  bright  red  himation  holds  out  a  taenia.  At  the  right  a  woman, 
whose  garments  are  drawn  in  outline,  also  holds  out  a  taenia. 

These  six  vases  have  no  special  interest  except  as  they  represent 
one  of  the  more  hasty  experiments  in  the  early  use  of  dull  color.  In 
spite  of  their  small  size  the  neck  is  covered  with  black  glaze,  and  con- 
siderable care  was  used  in  the  drawing;  for  both  reasons  they  may  be 
classified  here  rather  than  under  Class  VIII,  though  they  should  be 
compared  with  Class  VIII,  series  2. 


Conclusion  of  Class  VI  (Group  C) 

The  different  series  under  Class  VI  are  relatively  independent 
experiments  in  the  use  of  dull  color  for  the  outlines  either  of  the  orna- 
ment or  of  the  main  scene;  of  the  group  as  a  whole  little  remains  to  be 
said.  The  dull  color  used  in  series  I  in  most  instances  is  now  a  dull 
gray,  in  series  2  a  faded  purple;  occasionally  the  gray  is  found  in 


GROUP   C:   CLASS   VI,   3,  4-6  293 

series  2  and  a  faded  pink  in  series  I ;  the  dark  red  of  series  3  is  differ- 
ent from  both.  The  experimental  spirit  is  seen  also  in  the  variety  of 
solid  colors  used  for  garments,  etc.  Simple  outlines  are  often  used  for 
garments  as  in  glaze  outline  work,  but  when  the  artist  wished  to  use 
color,  he  was  not  so  closely  bound  by  tradition.  The  slip  is  not  essen- 
tially different  from  that  which  is  found  in  Class  V,  for  these  lekythoi 
are  in  the  main  contemporaneous,  and  in  some  instances  they  may 
have  been  decorated  by  the  same  artists;  on  some,  however,  the  slip 
is  more  chalky  and  less  firm. 

In  general  the  scenes  are  more  closely  connected  with  the  grave 
than  in  Class  V;  this  fact,  together  with  the  anticipations  of  later  work 
in  series  I,  is  the  main  reason  for  holding  that  Class  VI  begins  later  and 
continues  rather  longer  than  Class  V.  The  types  of  figures  which 
appear  in  the  scenes  are  limited  in  number  and  controlled  by  tradi- 
tion. It  is  in  the  combinations  of  these  types  that  the  artist  used  some 
liberty.  Under  each  series  the  representation  of  an  idealized  dead 
person  on  one  side  of  the  stele  with  a  worshipper  on  the  other  has  been 
noted;  attention  has  also  been  called  to  scenes  from  daily  life,  like  those 
on  grave  reliefs,  here  brought  into  connection  with  death  by  the  presence 
of  a  stele.  On  the  whole  there  is  more  promise  of  development  in  this 
class  than  was  fulfilled  by  the  later  classes  of  lekythoi  with  outlines 
drawn  in  dull  color. 


GROUP  D.     SMALL    LEKYTHOI    WITH    RED    NECK  AND   SHOULDER, 
DRAWING   IN  THIN   GLAZE   (OR   DULL   COLOR) 

Corresponding  approximately  in  date  to  the  group  of  fine  lekythoi 
just  considered  is  a  group  of  small  lekythoi,  hastily  made,  showing 
little  or  no  artistic  skill,  but  not  without  interest  as  part  of  the  whole 
series  of  outline  lekythoi.  The  small  size  (15-20  cm.  in  height),  the 
red  neck  and  shoulder  not  broken  by  any  division  line,  the  slip  ordi- 
narily pure  white,  the  simple  maeander  above  the  scene,  and  the  single 
figure,  often  at  the  tomb,  are  general  characteristics  of  the  group.  Ap- 
parently the  style  lasted  for  some  time,  even  after  the  use  of  dull  color 
on  other  types  of  lekythoi  became  common.  When  it  disappeared, 
it  was  succeeded  by  another  type  of  cheaply  made  vases  on  which  a 
thin  bright  red  paint  was  used  for  the  design.  In  spite  of  the  fact  that 
some  of  this  group  can  be  picked  out  as  early,  others  as  later,  it  does 
not  seem  feasible  to  attempt  any  general  classification  on  this  basis. 
Two  classes  may  easily  be  distinguished  from  the  standpoint  of  tech- 
nique: - 

Class  VII:  Lekythoi  of  Group  D  on  which  no  other  paint  than  thin 
yellow  glaze  is  used  either  for  the  scene  or  for  the  maeander  above. 

Class  VIII:  Lekythoi  of  Group  D  on  which  dull  color  is  used  either 
for  a  garment  or  for  some  portion  of  the  outline. 


CLASS  VII.     Drawing  all  in  thin  yellow  glaze;     slip   often  shiny 

This  class  corresponds  somewhat  closely  with  Class  V,  viz.  the 
large  fine  lekythoi  with  drawing  in  thin  glaze.  Tomb  scenes  are  hardly 
more  numerous  than  other  scenes  of  daily  life;  winged  figures,  if  not 
gods,  occur;  the  gynaikeion  and  the  toilet  are  several  times  repre- 
sented. Even  in  these  very  hasty  specimens  of  workmanship  a  sure- 
ness  of  line  is  often  to  be  noted,  which  serves  to  link  them  with  Class  V. 
It  will  appear  that  few  of  these  vases  call  for  individual  comment; 
a  fairly  small  number  of  types  recur  with  but  little  variation,  and  types 

294 


GROUP   D:   CLASS   VII,  i,  1-3  295 

rather  than  vases  will  be  discussed.  On  this  account  the  specimens 
within  each  series  are  arranged  in  general  by  subject;  scenes  from 
daily  life  precede  scenes  at  the  tomb,  and  wherever  possible  scenes  of 
the  same  type  are  described  consecutively. 

Within  Class  VII  we  may  separate  one  definitely  marked  series 
including  lekythoi  which  have  a  maeander  (or  space  for  a  maeander) 
both  above  and  below  the  main  scene.  The  second  series,  in  which 
there  is  a  little  more  variety,  consists  of  vases  which  do  not  have  the 
second  maeander  at  the  bottom. 


Series  I.    Maeander  both  above  and  below  the  scene 

The  typical  specimens  of  this  series  have  on  the  shoulder  a  double 
row  of  bars;  the  slip  is  pure  white  and  smooth  if  not  shiny;  on  the 
black  below  the  lower  maeander  are  several  purple  lines;  the  foot  is 
not  separated  from  the  body  by  a  "  cushion,"  and  its  shape  is  nor- 
mally that  shown  in  fig.  10  (p.  11). 

1.  Bologna,  Mus.    Civ.    Pell.   356.     Athens.     H.   about  0.22   m. 
Heydemann,  Hall.  Wmck.  Prog.  p.  56,  no.  1863,  Taf.  I,  3. 

Ornament  typical;  slip  shiny;  the  yellow  glaze  lines  vary  to  black  for  the  hair  and 
the  dots  on  the  serpent. 

A  youth  with  sword  in  his  right  hand  and  chlamys  on  his  extended  left  arm  rushes 
against  a  serpent  on  a  pile  of  rocks  at  the  right;  the  petasos  has  fallen  to  his  neck;  on 
his  feet  are  boots  laced  nearly  to  the  knee. 

2.  Athens,  Nat.  Mus.  1859,  Cv,  1048.     H.  0.197  m-     Plate  XIV,  3. 

Ornament  typical;    slip  shiny;    drawing  vigorous  but  hasty. 

A  youth  in  the  same  dress  and  attitude  as  on  no.  I  rushes  with  drawn  sword  toward 
a  pile  of  rocks,  on  the  lowest  of  which  he  places  his  left  foot. 

3.  Athens,   Nat.    Mus.   1860,  Cv.   1017.      H.  0.22   m.      Dumont, 
Ceramiques  de  la  Grece  propre,  II,  53,  no.  23. 

Ornament  typical. 

A  bearded  warrior  with  petasos  and  chlamys  (which  covers  his  left  arm)  rushes 
toward  a  pile  of  rocks;  on  his  head  is  a  small  helmet  or  cap;  laced  footgear  as  on  the 
last  two  specimens. 

Although  the  serpent  or  "  dragon  "  occurs  on  but  one  of  these 
vases,  it  seems  fair  to  bring  them  together;  the  antagonist  to  be  sup- 
plied in  the  case  of  the  two  latter  might  be  a  warrior,1  in  either  case 

1  Cp.  the  Greek  and  Amazon,  TUchbein,  II,  pi.  10. 


296  ATHENIAN  WHITE   LEKYTHOI 

the  boots  of  the  warrior  are  no  doubt  intended  to  indicate  that  some 
such  expedition  of  adventure  as  that  of  Cadmus  is  in  the  mind  of  the 
painter.  The  nearest  parallel  to  the  present  scene  is  found  on  a  vase 
in  Munich,1  probably  of  later  date,  representing  the  adventures  of 
Jason.  At  one  point  the  hero  in  just  the  attitude  and  dress  seen  on 
these  lekythoi  is  rushing  toward  a  pile  of  rocks  surmounted  by  a  ser- 
pent; behind  him  Medea  holds  a  jewel  casket  on  her  left  hand  as  she 
watches  him.  From  some  such  scene  as  that  the  warrior  on  these 
three  lekythoi  has  been  taken.2 

4.  Paris,  Cab.  Med.  4903,  de  Ridder,  496  bis.    Marathon.     H.  0.19 
m.      Gaz.  Arch.   1885,  p.  282,  12,  pi.  32,  2;   cp.  Annali,  1847,  p.  384. 

Ornament  typical;    slip  hard  and  shiny;    foot  a  simple  disk. 

An  Asiatic  archer  carrying  a  bow  in  his  left  hand  advances  to  the  right,  looking  back 
and  holding  his  right  hand  back.  He  wears  short  tunic  with  long  sleeves  and  close- 
fitting  trousers,  both  ornamented  with  zigzags;  on  his  head  is  a  Phrygian  cap. 

This  type  of  "  Phrygian  "  is  not  infrequent  on  both  black-figured 
and  red-figured  ware;3  ordinarily  he  does  not  carry  a  bow,  though  this 
was  the  characteristic  weapon  of  Asia  Minor.  If  the  vase  really  be 
from  the  plain  of  Marathon,  it  is  difficult  to  resist  the  impression  that 
the  painter  has  a  Persian  in  mind.  The  attitude  of  the  figure  re- 
appears on  the  following  lekythoi. 

5.  Athens,  Nat.  Mus.  2395.     H.  about  0.20  m. 

Ornament  typical. 

Nike  wearing  chiton  with  full  sleeves  and  himation  hastens  to  the  right,  holding  out  a 
thin  taenia  in  both  hands;  on  her  head  is  a  stephane. 

6.  Athens,  Nat.  Mus.  1884,  Cv.  1056.     H.  0.20  m. 

Ornament  typical;    drawing  careless. 

Nike  in  chiton  and  himation  hastens  to  the  right.  In  the  field  in  front  hangs 
a  taenia. 

7.  Athens,  Nat.  Mus.   1873,  Cv.   1052.     H.   0.19  m.      Festchrift 
fiir  0.  Benndorfy  S.  94. 

Ornament  typical. 

A  woman  wearing  chiton  and  himation  hastens  to  the  right  and  looks  back;  in  both 
hands  she  carries  a  large  purplish  taenia. 

The  winged  figure  of  a  woman  on  no.  5  closely  resembles  in  concep- 

1  Munich,  Jahn,  805  ;   on  a  Cyrenaic  vase  the  conflict  of  Cadmus  and  the  dragon  had  been  depicted  in 
somewhat  similar  terms,  Arch.  Zeit.  1881,  pi.  xii,  a. 

2  Cp.  Athens,  Nat.  Mus.  1 644. 

8  E.g.  Coll.  Jatta,  1608  ;   Brit.  Mus.  E  695,  and  the  "  Darius  "  vase,  Naples,  3253. 


GROUP   D:   CLASS   VII,    i,   4-12  297 

tion  the  Nike  (so  labelled)  on  a  lekythos  of  earlier  date  already  dis- 
cussed;1 even  such  a  detail  as  the  stephane  is  present  on  both  vases. 
The  type  of  an  advancing  woman,  sometimes  looking  back,  is  found 
several  times  on  the  small  lekythoi  of  Class  III.2  There  seems  to  be 
no  doubt  that  the  lekythoi  of  the  present  series  should  be  regarded  as  a 
continuation  of  series  b  in  Class  III,  and  it  is  quite  possible  that  the 
two  series  overlapped  in  time. 

8.  Athens,  Nat.  Mus.  Case  71,  Grave  2597. 

Ornament  typical;    foot  of  later  type;    drawing  rather  careful. 

At  the  left  a  sacrifice  is  in  progress  on  a  square  stone  block;  the  tail  of  the  animal  is 
visible  on  the  burning  wood.  At  the  right  a  woman  wearing  sleeve  chiton  and  himation, 
three-quarters  en  face,  pours  on  the  altar  from  a  phiale;  her  hair  is  all  in  a  cloth. 

9.  Coll.  Bammeville,  Froehner,  no.  14.     H.  0.218  m. 

Ornament  typical. 

At  the  left  is  an  altar;  before  it  a  woman  stands  pouring  a  libation.  "Elle  est 
coiffee  d'une  bandellette;  sa  main  droite  avancee  tient  une  patere  godronnee.  L'autel 
est  allume  et  pare  d'une  guirlande." 

10.  Bologna,  Mus.  Civ.,  Pell  360.     H.  0.22  m. 

Ornament  typical. 

At  the  right  is  a  square  block  (stele?);  over  it  hangs  a  taenia.  Before  it  a  wo- 
man stands  en  face,  raising  her  hands  to  her  head  in  a  gesture  of  mourning;  she  wears 
sleeveless  chiton  with  overfold. 

This  scene,  like  the  last,  is  continued  from  the  small  lekythoi  of 
Class  III,3  though  something  similar  occurs  on  larger  outline  lekythoi,4 
as  well  as  on  red-figured  lekythoi.  The  gradation  from  the  carefully 
drawn  sacrifice  of  no.  8  5  to  no.  10,  where  the  block  may  be  either  an 
altar  or  a  stele,  throws  light  on  the  tendency  to  abbreviate  and  simplify 
within  an  already  established  schema. 

n.    Berlin,  Furtw.  2247.     Athens.     H.  0.17  m. 

Ornament  typical. 

On  a  chair  a  woman  sits  facing  toward  the  right  and  pours  from  phialai  which  she 
holds  in  each  hand;  she  wears  sleeve  chiton,  himation,  and  a  sakkos  about  her  hair. 

12.    Athens,  Nat.  Mus.  Case  71,  Grave  2597. 

Ornament  typical.     Drawing  good  but  hasty. 

On  a  chair  a  woman  sits  facing  toward  the  right,  her  right  arm  thrown  over  the  back 

1  Cp.  A  III,  no.  65,  Athens,  Nat.  Mus.  1806. 

*  Cp.  A  III,  no.  15,  Brit.  Mm.  D  17  ;  also  not.  17,  18,  and  19 

»  Cp.  A  III,  no.  a$,  Berlin,  1251  ;    no.  37,  Copenhagen,  133  ;  no.  40,  Athens,  Private  Collection. 
«  A  II,  no.  5,  Athens,  1817;  no.  6,  Berlin,  1149;  B  IV,  i,  no.  11,  Brit.  Mus.  D  15. 

*  Cp.  especially  A  III,  no.  15,  Berlin,  1151. 


298  ATHENIAN  WHITE  LEKYTHOI 

of  the  chair;   her  hair  in  a  knot  is  held  up  by  a  taenia;  she  wears  a  sleeve  chiton  and  over 
her  knees  is  a  himation. 

These  two  examples  of  the  household  scenes,  so  common  in  Classes 
III,  IV,  and  V,  are  among  the  last  of  this  type;  both  are  abbreviated 
from  fuller  scenes,  the  first  perhaps  from  a  parting  scene,  the  second 
from  some  gynaikeion  scene.1  Number  12  shows  more  clearly  than 
perhaps  any  other  lekythos  of  this  group  the  influence  of  Class  V; 
there  is  no  question  that  it  belongs  to  the  same  period  and  the  same 
series  of  painters  as  the  lekythoi  mentioned  in  the  note  below. 

13.  Athens,   Nat.   Mus.   2025,  Cv.    1060.      H.   0.23   m.     Pettier, 
Lecythes  Manes,  145,  45- 

Ornament  typical;    drawing  hasty. 

Nike,  wearing  chiton  and  himation,  sits  on  a  pile  of  rocks  holding  up  a  wreath  as  if 
she  were  about  to  put  it  on;  her  hair  is  held  up  by  a  stephane. 

This  "  Nike  "  is  dressed  in  the  same  manner  as  on  no.  5  supra. 
The  pile  of  rocks  as  a  seat  is  unique  on  outline  lekythoi;  on  a  red- 
figured  lekythos  2  of  this  same  period  Nike  is  sitting  on  rocks  as  here. 
The  attitude,  viz.  holding  a  wreath  as  if  about  to  put  it  on,  has  been 
noted  in  connection  with  several  lekythoi  of  Group  B.3 

14.  Athens,  Nat.   Mus.    1885,  Cv.    1039.     Benndorf,   Griecb.   Sic. 
Vas.,  Taf.  xix,  4. 

Ornament  typical,  neck  broken. 

On  a  base  of  three  steps  a  sphinx  is  seated  in  the  usual  attitude,  facing  toward  the 
right.  In  front  is  a  bush  in  foliage. 

The  sphinx,  which  occurs  so  often  in  the  animal  friezes  of  black- 
figured  ware,  is  represented  on  a  pillar  on  a  considerable  number  of  red- 
figured  vases;  often  there  is  nothing  to  decide  whether  it  is  theTheban 
sphinx  and  Oedipus,  or  a  sphinx  dedicated  on  a  pillar,  or  a  grave  monu- 
ment. On  the  present  vase  the  conventional  three  steps  of  the  grave 
monument,  and  the  foliage  which  is  of  the  same  type  as  that  by  a 
tumulus  on  the  following  lekythos,  leave  no  doubt  that  we  are  dealing 
with  a  tomb  scene.  On  a  krater  in  Florence4  we  actually  find  the  sphinx 
on  top  of  a  tumulus.  In  this  last  instance  there  would  seem  to  be  no 
question  that  the  sphinx  is  not  a  monument  proper,  but  one  of  those 
spirits  that  haunt  graves.5  On  the  Athenian  lekythos,  on  the  other 

1  C  V  no.  49,  Athens,  Nat  Mus.  1818  ;  no.  50,  Brit.  Mus.  057. 

2  Athens,  Nat.  Mus.  1271,  Cv.  1377. 

8  E.g.  B  IV,  i,  no.  25,  Athens,  Nat.  Mus.  1826;  B  IV,  3,  no.  2,  Athens,  Nat.  Mus.  1847. 

*  Figured  by  Miss  Harrison,  Prolegomena  to  Greek  Religion,  p.  ail,  fig.  45. 

6  On  the  sphinx  as  a  funeral  monument  at  Pompeii,  see  Overbeck,  Pompeii  tz  II,  S.  33,  fig.  33. 


GROUP    D:   CLASS   VII,  i,   13-18  299 

hand,  the  sphinx,  like  the  siren,  has  become  a  mere  monument,  sym- 
bolizing perhaps  the  fact  that  death  is  separation  and  sadness. 

15.  Athens,  Nat.  Mus.   1876  (Coll.  633),  Cv.   1053.     H.  0.15  m. 
Benndorf,  Griech.  Sic.  Vas.  Taf.  xxiv,  2. 

Ornament  typical;   drawing  hasty. 

In  front  of  a  large  tumulus  stands  a  woman  closely  draped  in  chiton  and  himation 
and  wearing  her  hair  in  a  cloth;  in  her  right  hand  which  just  emerges  from  the  garment 
she  holds  a  flower  (?)  to  her  nose.  From  the  top  of  the  tumulus  behind  her  hangs  a 
taenia,  in  form  somewhat  like  a  purse;  on  either  side  of  it  are  bushes  in  fruit  and  foliage. 

16.  Athens,  Nat.  Mus.  1915,  Cv.  1072.    Ceramicus.     H.  0.19  m. 
,  1892,  cr.  12,  41. 


The  second  maeander  (below  the  scene)  and  the  purple  lines  on  the  black  below  are 
missing. 

The  scene  is  the  same  as  on  the  preceding,  except  that  the  flower  and  the  taenia  are 
missing;  the  work  is  more  careless. 

It  will  appear  in  the  discussion  of  lekythoi  in  a  later  series  of  the 
present  group  that  a  figure  represented  in  front  of  a  stele  or  tumulus  is 
often  a  conventional  representation  of  a  relief.  By  itself  there  is  noth- 
ing to  decide  in  the  present  instance  whether  this  woman  is  a  mourner 
at  the  tomb,  or  a  person  inside  the  tomb,  or  a  statue  which  takes  the 
place  of  the  stele  shown  in  the  following  numbers,  or  a  relief;  the  ges- 
ture is  hardly  that  of  a  visitor  to  the  tomb,  however,  and  it  seems  most 
natural  to  regard  this  figure,  like  the  ones  to  be  considered  later,  as 
intended  for  a  relief.  The  object  hanging  from  the  tumulus  is  hardly 
intelligible  to  us,  if  it  was  to  the  painter  of  this  lekythos;  to  judge  from 
other  vases  with  the  same  scene,1  the  type  which  was  in  the  painter's 
mind  had  a  taenia  here. 

17.  Athens,  Nat.  Mus.  1861  (Coll.  642),  Cv.  1043.     H.  0.23  m. 

Ornament  typical;    drawing  in  rather  fine  lines. 

At  the  left  is  a  slender  stele  with  triangular  top  in  front  of  a  tumulus,  from  both  of 
which  hang  wide  taeniae. 

At  the  right  a  youth  hastens  away  and  looks  back,  tearing  his  hair  with  his  right 
hand;  he  wears  petasos  (down),  chlamys,  and  high  laced  boots;  in  his  left  hand  he  carries 
two  spears  on  which  the  thong  for  throwing  may  be  distinguished. 

18.  Athens,   Nat.   Mus.    1986,   Cv.    1071.     Eretria.     H.   0.22   m. 
Ae\Tioi>,  1889,  or.  228,  7. 

Ornament  typical,  work  careless. 

At  the  left  is  a  stele  in  front  of  tumulus,  hung  with  taeniae,  as  on  the  preceding  vase. 

1  E.g.  A  III,  no.  59,  Athero,  Prirate  Collection  ;  C  V,  no.  18,  Athens,  Nat.  Mu«.  1789. 


300  ATHENIAN  WHITE   LEKYTHOI 

A  woman  wearing  sleeveless  chiton  ungirded  stands  looking  at  the  tomb  and  tears 
her  hair  with  both  hands.  Her  legs  are  very  short.1 

19.  Athens,  Nat.  Mus.  1875  (Coll.  658),  Cv.  1040. 

A  space  is  left  for  the  maeander,  but  it  was  never  put  in;  purple  lines  on  the  black 
below;  neck  broken. 

At  the  left  a  stele  is  seen  in  front  of  tumulus,  hung  with  taeniae,  as  on  the  previous 
specimens. 

Before  it  stands  a  woman  holding  out  a  taenia  in  both  hands;  she  wears  chiton 
and  himation;  her  hair  is  held  by  a  taenia. 

The  combination  of  tumulus  and  stele  in  front,  which  occurs  fre- 
quently on  the  lekythoi  of  the  following  series  also,  has  already  been 
discussed  in  connection  with  several  vases  of  Class  V;2  these  small 
lekythoi  are  connected  at  this  point  also  with  the  large  fine  specimens 
with  glaze  outline  on  a  pure  white  surface.  The  expression  of  grief 
on  nos.  17  and  18,  however,  carries  us  further  back,  viz.  to  Class  III.3 
Only  occasionally  does  the  lekythos  maker  permit  himself  the  genuine 
expression  of  grief  without  reserve,  and  this  occurs  generally  on  the 
small  lekythoi  which  can  lay  no  claim  to  artistic  merit;  the  finer 
lekythoi,  like  the  stone  grave  stelai,  reveal  honor  and  respect  for  the 
dead  rather  than  sorrow.  The  youth  who  hastens  away  from  the  tomb 
and  yet  looks  back  is  an  interesting  adaptation  of  the  schema  often 
noted  (e.g.  nos.  5,  6,  and  7)  which  up  to  this  time  has  had  no  connec- 
tion with  the  tomb. 

20.  Athens,  Nat.  Mus.  1808  (Coll.  660),  Cv.   1042.     Salamis.     H. 
0.19  m. 

Ornament  typical;   work  careless. 

A  rather  broad  stele  with  square  top  is  ornamented  with  one  taenia. 
A  woman  in  chiton  and  himation  brings  a  (myrtle)  wreath  which  she  is  about  to  lay 
on  the  steps;    her  hair  is  covered  by  a  cloth. 

21.  London,  Brit.  Mus.  D  38.     H.  9  in.     Cat.  Vases,  III,  pi.  xxiv,  2. 

Ornament  typical;  the  maeander  of  the  foot  of  the  picture  covers  the  lower  part  of 
the  scene,  no  space  having  been  left  for  it  by  the  painter. 

At  the  right  a  small  stele  stands  on  four  high  steps;  on  the  upper  step  is  a  wreath, 
and  a  taenia  is  tied  about  the  shaft. 

A  bearded  man  wearing  a  himation  leans  forward  on  a  stick  under  his  left  shoulder; 
in  his  left  hand  he  carries  sealed  tablets  (?),  with  his  right  he  is  placing  another  wreath 
on  the  stele. 

1  D  VII,  2,  no.  18,  Athens,  Nat.  Mus.  1780,  woman  kneeling  before  a  stele. 

2  C  V,  no.  22,  Athens,  Nat.  Mus.    1935  ;  no.  28,  Athens,  Nat.   Mus.    1789  (stele  behind);   C  VI, 
2,  no.  12,  Brit.  Mus.  D  56. 

8  Cp.  A  III,  no.  59,  Athens,  Private  Collection. 


GROUP   D:   CLASS   VII,  i,  19-22  301 

In  the  type  of  scene  as  well  as  in  the  form  chosen  for  the  stele 
these  two  lekythoi  are  very  similar.  Evidently  no.  21  was  made  by 
a  potter  trained  in  this  style  of  vase  painting;  at  the  same  time  he  is 
not  satisfied  with  the  humbler  products  to  which  he  is  accustomed,  and 
here  tries  to  produce  something  larger  and  finer.  The  bearded  man 
reproduces  a  type  already  noted,1  though  here  his  garment  is  arranged 
as  though  he  were  not  leaning  forward  on  his  staff.  The  wreath,  which 
on  no.  20  occurs  once  and  on  no.  21  twice,  has  been  found  first  on  altar 
scenes,2  then  on  baskets  carried  to  the  grave;3  it  is  used  here  in  a  manner 
exactly  similar  to  that  on  a  vase  of  Group  C,4  as  though  the  painter  at 
this  point  again  had  in  mind  the  work  of  makers  of  that  kind  of  leky- 
thoi. The  tablets  which  the  man  carries  in  his  other  hand,  if  this  be 
the  correct  interpretation,  are  found  only  on  two  other  specimens 
of  the  lekythoi  drawn  in  glaze  outline.5 

22.    Athens,  Nat.  Mus.  Case  71,  Grave  2598. 

Ornament  typical,  except  that  the  maeander  below  the  scene  seems  never  to  have 
been  put  in. 

At  the  right  is  a  slender  stele  on  three  steps,  surmounted  by  egg-pattern,  scrolls,  and 
a  diminutive  palmette. 

A  woman  in  partial  profile  brings  in  both  hands  a  basket  of  taeniae  to  the  grave; 
she  wears  a  sleeve  chiton  of  striped  material  girded  over  the  overfold. 

The  slender  stele  surmounted  by  scrolls  and  palmette,  which  has 
been  seen  already  on  a  lekythos  of  Group  C,a  is  not  found  again  on 
the  lekythoi  grouped  under  Class  VII;  nor  does  the  striped  chiton  7 
occur  again  until  Class  VIII.8  The  three  lekythoi  exhibited  in  case  71  * 
present  one  peculiarity  in  common,  —  in  each  instance  the  woman  is 
drawn  in  partial  profile.  This  position  is  definitely  avoided  on  leky- 
thoi of  Group  B  and  on  several  of  the  series  under  Group  C;  on  the 
other  hand,  it  is  the  more  usual  position  on  red-figured  vases  of  the 
same  period.  Apparently  these  three  lekythoi  were  produced  by  a 
man  who  was  not  wholly  under  the  sway  of  earlier  outline  drawing 
types;  he  may  have  been  accustomed  to  make  red-figured  lekythoi 
rather  than  white  lekythoi. 

Of  the  twenty-two  specimens  described  under  this  series  it  will  be 
seen  that  one  each  comes  from  Eretria,  from  Salamis,  and  from  Mara- 

1  Cp.  B  IV,  i,  no.  11,  Brit.  Mus.  D  15.  »  E.g.  B  IV,  a,  no.  14,  Athene,  Nat.   Mu».    1919. 

*  E.g.  B  IV,  i,  no.  ii,  Brit.  Mus.  D  14.         4  C  V,  no.  11,  Athens,  Nat.  Mus.  1935. 
6  C  VI,  i,  no.  6,  Athens,  Nat.  Mus.  1761  ;  no.  10,  Boston,  P.  8440. 

•  C  VI,  i,  no.  11,  Athens,  Nat.  Mus.  1843.     •  E.g.  D  VIII,  I,  no.  4,  Athens,  Prirate  Collection. 
1  Cp.  A  III,  no.  66,  Brit.  Mus.  D  19,  etc.         •  No.  8  and  n  aboTe. 


302  ATHENIAN  WHITE   LEKYTHOI 

thon;  the  remainder,  so  far  as  their  provenance  is  known,  come  from 
Athens  or  its  vicinity.  The  series  is  distinguished  by  one  mark; 
namely,  the  second  maeander,or  space  for  a  maeander,  below  the  scene. 
The  ornamentation  in  other  respects  is  very  similar.  All  have  the 
red  neck  and  two  rows  of  bars  on  the  shoulder,  the  purple  lines  on  the 
black  below  the  second  maeander,  and  almost  all  have  the  same  type 
of  foot.  In  a  word,  the  second  maeander  is  no  casual  mark,  but  it 
serves  to  bring  together  a  definite  series.  The  scenes  which  appear 
do  not  differ  materially  from  those  on  lekythoi  of  series  2.  As  may  be 
expected,  that  series  is  less  homogeneous;  for  it  includes  all  that  lack 
the  second  maeander.  The  present  series,  however,  must  have  come 
from  one  period  and  one  group  of  potters,  possibly  all  from  one  shop. 
It  has  appeared,  further,  that  on  these  lekythoi  the  drawing,  while  in 
most  instances  hasty  if  not  careless,  is  ordinarily  of  a  good  period,  a 
period  which  may  be  defined  somewhat  accurately  by  its  relation  to 
the  scenes  on  Class  III  and  Class  V.  The  nature  of  the  drawing  and 
the  limited  number  of  types  suggest  that  these  small  lekythoi  are  not 
experiments  or  by-products  of  the  shops  where  the  large  fine  lekythoi 
were  made.  They  are  rather  the  output  of  shops  which  aim  to  produce 
just  this  article  in  quantity  to  meet  a  particular  demand.  The  scenes 
themselves  will  best  be  considered  after  series  2  has  been  described. 


Series  2.    No  maeander  below  the  scene 

The  present  series  differs  from  the  preceding  one  in  the  absence 
of  the  lower  maeander;  it  includes  also  lekythoi  which  have  other 
minor  differences,  such  as  a  different  type  of  foot  and  a  black  below 
the  scene  unbroken  by  purple  lines;  the  type  of  drawing  and  the 
scenes  represented,  however,  are  much  the  same. 

i.  New  York,  Metrop.  Mus.  Inv.  06,  1021,127.  H.  0.235  m- 
Canes sa  Sale  Catalogue,  70.  Plate  X,  2. 

Typical  bars  on  the  shoulder  and  simple  maeander.  Drawn  in  yellow  glaze  on  a 
thick  chalky  slip. 

At  the  left  a  warrior  is  charging  toward  the  right  with  a  sword  in  his  lowered  right 
hand,  and  his  chlamys  over  his  extended  left  arm.  He  wears  high  boots  and  on  his 
shoulder  is  a  petasos. 

In  front  of  him  at  the  right  is  a  low  broad  stele  with  simple  triangular  top. 

The  scene  of  a  warrior  charging  has  been  discussed  in  connection 
with  the  first  three  vases  of  series  i  in  the  present  class.  It  is  the  same 


GROUP   D:   CLASS   VII,  2,  1-3  303 

figure  on  this  vase,  but,  curiously  enough,  the  painter  has  taken  it  out 
of  its  proper  setting  and  used  it  as  a  figure  at  the  tomb.  One  finds 
first  the  warrior  charging  toward  a  serpent,  then  the  warrior  used  alone 
as  a  purely  decorative  figure,  and  finally  this  decorative  figure  replac- 
ing the  man  or  woman  engaged  in  worship  at  the  grave.  It  is  only 
necessary  to  recall  the  intermediate  stage,  the  use  of  the  figure  in  a 
purely  decorative  manner,  to  understand  that  one  cannot  look  for  any 
particular  meaning  in  the  charging  warrior  on  this  vase.  In  his  effort 
for  variety  the  painter  has  simply  drawn  in  a  figure  which  already  had 
lost  its  meaning  and  which  can  have  no  meaning  here.  The  limited 
number  of  figures  at  the  disposal  of  the  lekythos  painter  is  the  only 
excuse  for  such  a  course. 

ia.  Athens,  Nat.  Mus.  1783,  Cv.  1047.  H.  0.21.  Festschrift  fur 
0.  Benndorf,  S.  92,  2. 

Foot  as  in  series  I ;    purple  lines  beneath  the  white  slip. 

A  woman  wearing  sleeve  chiton  and  himation  moves  toward  the  right  and  looks 
back;  in  her  right  hand  behind  her  is  a  mirror,  on  her  left  hand  in  front  a  basket;  on 
her  head  she  wears  a  wreath.1 

2.  London,  Brit.  Mus.  D  40.     H.  7^  in. 

Foot  simple;   lines  once  purple  (?)  below  the  white  slip. 

At  the  left  a  girl  in  chiton  (girded  twice)  dances  toward  the  right,  looking  back  and 
extending  a  pair  of  castanets  in  each  hand;  her  hair  is  in  a  knot  at  the  back  of  her  head. 
A  chair  stands  facing  her;  on  its  seat  is  her  mantle  rolled  in  a  bundle.2 

3.  Bologna,    Mus.    Civ.    Pell.    355.     Heydemann,    Hall.    Winck. 
progr.  S.  56,  1365,  Taf.  i,  4. 

No  lines  on  the  black  below  the  white  slip. 

A  Bacchante  dances  to  right,  throwing  her  skirts  into  the  air,  and  looks  back;  she 
wears  a  chiton  the  sleeves  of  which  have  been  extended  to  cover  her  hands;  over  this  a 
leopard  skin  is  girded  about  her  waist  and  fastened  over  one  shoulder;  her  hair  is  rolled 
in  a  knot  at  the  back  of  her  head. 

This  dancing  figure  is  as  unusual  on  white  lekythoi  s  as  it  is  common 
on  red-figured  vases.  The  maenad  covering  her  hands  with  her  gar- 
ment (himation  ?)  as  she  dances,  is  found  with  two  satyrs  on  a  black- 
figured  lekythos  of  relatively  late  date  in  the  British  Museum;4  on 
small  red-figured  lekythoi  the  maenad  alone  is  found  occasionally 

1  Cp.  Athens,  Nat.  Mus.  1276,  Cv.  1380;  1178,  CT.  1381. 

2  Cp.  girl  with  castanets  on  a  red-figured  lekythoi,  Brit.  Mus.  E  642,  and  E  357. 
•  Cp.  A  III,  no.  8,  Girgenti. 

4  Brit.  Mus.  B  645,  black  on  a  drab  ground. 


3o4  ATHENIAN  WHITE   LEKYTHOI 

with  the  sleeves  of  the  chiton  extended  to  cover  both  her  hands.1  In 
scenes  of  Bacchic  revelry  the  maenad  dancing  with  satyrs  not  infre- 
quently has  one  or  both  arms  covered  in  this  manner  with  the  extended 
sleeves  of  the  chiton.2  The  castanets  also  find  their  proper  place  in 
Bacchic  worship;3  perhaps  the  girl  on  no.  2  should  also  be  termed  a 
maenad. 

3a.  New  York  Metrop.  Mus.  1822.  H.  0.158  m.  Am.  Jour.  Arch. 
II  (1886),  p.  397,  no.  6;  pi.  xii,  fig.  3. 

On  the  shoulder  are  the  typical  bars;  the  simple  maeander  above  is  reversed.  Slip 
brownish  (as  the  result  of  fire  ?).  The  scene  is  drawn  in  dark  brown  glaze  with  yellow 
inner  markings,  especially  for  the  abdomen.  Below  the  scene  is  a  reserved  red  line. 

A  youth  with  both  hands  raised  runs  away  from  a  serpent  and  looks  back  at  it. 

4.  Athens,  Private  Collection. 

Neck  white;  shoulder  red  with  five  rude  palmettes;  three  purple  lines  on  the  black 
below  the  slip. 

At  the  left  a  youth  pursues  a  woman.  She  runs  toward  the  right  and  looks  back. 
The  treatment  of  the  hair  and  the  full  fold  of  the  skirt  behind  is  in  the  style  of  Class  IV. 

The  combination  of  the  white  neck  and  the  red  shoulder  is  enough 
in  itself  to  mark  this  vase  as  an  experiment;  it  is  included  here  for 
convenience,  though  it  does  not  come  under  any  class  with  other  leky- 
thoi.  All  the  elements  of  the  vase,  however,  are  found  on  one  lekythos 
or  another.  The  white  neck  has  been  noted  several  times;  the  five 
rude  palmettes  occur  on  lekythoi  under  Class  III,  and  a  similar  scene 
occurs  once  under  Class  III.4  In  other  words  it  is  an  experiment  by 
a  lekythos  painter,  or  by  some  one  who  is  imitating  his  methods. 

5.  Athens.     Athen.    Mitth.    XVII,    S.    434,    Taf.    i,    I.     Athens. 
H.  0.23.      Klein,  Lieblingsinschriften,  S.  154. 

Ornament  typical;  purple  lines  on  black  beneath  the  slip  are  lacking;  slip  slightly 
yellowish.  Of  the  man's  figure  hardly  more  than  "vorgeritzte  Umrisse"  remain.  The 
camel's  skin  is  given  by  broad  strokes  of  thin  glaze. 

On  a  Bactrian  camel  facing  toward  the  left  sits  en  face  a  bearded  man  in  Persian  cos- 
tume, pointing  back  with  his  right  hand.  Inscription  KAAOs 

MUwv. 

This  interesting  lekythos  was  found  in  a  grave  apparently  of  the 
fourth  century  B.C.  in  the  vicinity  of  the  German  Institute  in  Athens. 

1  E.g.  Brit.  Mus.  E  590.     The  figure  is  in  just  the  same  dress  and  attitude  as  on  the  Bologna  lekythos, 
but  a  thyrsos  which  she  has  just  dropped  is  added. 

2  Hartwig,  Meistcrschalcn,  Taf.  xxxii,  kylix  of  Brygos  in  Paris  ;  Taf.   xliii,  "  Meister  mit  dem  Kahl- 
kopf"  in  the  British  Museum,  E  75.      Cf.  also  Gerhard,  Trinksch.  und  Gef.  Taf.  vi-vii,  I   and   2;   Arch. 
Zeit.  1872,  Taf.  Ixx  ;  and  Heydemann,  Die  •verhiillte  Taniserin. 

8  Gerhard,  Trinksch.  und  Gef.  Taf.  vi-vii,  2.  *  A  III,  no.  62,  Athens,  Nat.  Mus.  1978. 


GROUP    D:   CLASS    VII,  2,  33-6  305 

With  it  were  several  red-figured  lekythoi  which  are  also  published  in 
the  Mtttheilungen,  Vol.  XVII.1  On  a  red-figured  aryballos  in  the 
British  Museum  a  similar  figure  in  Persian  costume  is  seen  riding  on 
a  camel  and  pointing  backward,  while  attendants  in  like  attire  precede 
and  follow.2  Although  it  is  usually  termed  a  Dionysiac  scene,  there 
is  little  or  nothing  to  mark  it  as  such.  On  a  vase  by  Laches  a  figure 
in  the  same  attitude  rides  on  a  mule; 3  finally  on  an  amphora  in  Wiirz- 
burg  Dionysos  rides  on  a  white  bull  in  just  this  attitude,  pouring  from 
a  kantharos  in  the  hand  held  back.4  The  camel  rider  on  the  British 
Museum  aryballos  may  best  be  understood  as  some  oriental  magnate 
attended  by  his  followers;  the  present  scene,  which  is  but  an  excerpt 
from  such  a  procession  as  that  on  the  aryballos,  will  then  be  under- 
stood in  the  same  way.  Like  the  maenad  on  no.  3,  the  camel  rider  has 
been  isolated  to  meet  the  demand  for  a  single  figure  on  vases  of  this 
type.  Such  scenes  not  treated  on  other  outline  lekythoi  go  to  prove 
that  vases  of  the  present  class  form  the  best  product  of  the  shops  that 
made  them;  they  are  not  hasty  specimens  produced  by  potters  who 
were  accustomed  to  make  such  lekythoi  as  those  of  Group  C. 

6.  Berlin,  Furtw.  2248.  Athens.  H.  0.245  m-  Benndorf,  Griech. 
Sic.  Vas.  Taf.  xxvii,  2. 

Shoulder  typical;  foot  of  the  type  common  later;  instead  of  purple  lines  on  the  black 
beneath  the  slip  there  are  incised  lines  showing  the  red  of  the  clay.  Thin  red  is  used  for 
the  flame. 

Iris  slowly  approaches  a  stone  block  (altar)  on  which  a  fire  is  burning,  and  holds 
over  it  a  kerykeion  in  her  left  hand  and  rests  her  right  hand  on  her  hip;  she  wears  a 
short  sleeveless  chiton  girded;  her  large  wings  are  raised  behind  her,  and  there  are 
little  wings  attached  to  her  boots;  a  taenia  holds  her  hair  in  a  flat  knot  at  the  back  of 
her  head. 

On  one  other  of  the  lekythoi  considered  in  this  paper  is  found  a 
female  figure  with  kerykeion,  probably  an  Iris.5  With  reference  to 
the  present  vase  there  is  no  doubt  as  to  her  identity.  While  Iris  is 
more  commonly  represented  on  red-figured  vases  as  wearing  long  gar- 
ments, a  figure  only  to  be  distinguished  from  Nike  by  the  attributes 
she  carries  in  her  hands,6  more  than  once  she  has  just  the  same  garment 

1  Also  the  lekythos  described  above,  A  III,  no.  17. 

2  Brit.  Mus.  E  695,  Man.  last.  I,  Tav.  L;  Arch.  Ztit.  1844,  Taf.  14. 
8  Hartwig,  Meinertctalen,  Taf.  bciii. 

•  Wiirzburg,  87,  Urlichs,  p.  10. 

•  A  III,  no.  14,  Brit.  Mus.  031;  the  only  question  is  as  to  the  sex  of  the  figure. 

•  E.g.  Munich,  Jahn,  291,  Gerhard,  Aui.  fate*.  Taf.  buuuii ;   Brit.  Mus.  E  65,  a  rase  of  Brygos  on 
which  Iris  (so  labelled)  appears  in  connection  with  a  Dionysiac  sacrifice. 

X 


306  ATHENIAN  WHITE   LEKYTHOI 

and  winged  boots  as  here.1  The  winged  boots  go  with  the  short  gar- 
ment, in  that  both  emphasize  the  function  of  the  goddess  as  a  mes- 
senger. But  in  the  present  scene  Iris  is  not  a  messenger;  like  Nike, 
she  is  here  the  servant  of  the  gods  at  a  sacrifice.  It  would  seem  that 
Nike,  or  a  winged  figure  with  no  attribute  to  distinguish  her  from  Nike, 
has  ordinarily  usurped  a  function  that  more  properly  belongs  to  Iris.2 
Indeed,  Iris  may  often  have  been  in  the  mind  of  the  painter,  though  it 
seems  fairer  to  use  the  name  Nike,  both  because  the  inscription  some- 
times gives  this  name  and  because  Nike  does  tend  to  supplant  all 
other  winged  female  figures  and  to  lose  her  own  distinctive  nature. 

7.  Athens,  Private  Collection.     Athens.     H.  to  shoulder  0.12  m. 

No  purple  lines  below  the  white  slip,  but  a  wide  line  of  the  (clay)  red  is  left  exposed. 
In  a  chair  facing  toward  the  right  sits  a  woman  leaning  forward  and  holding  a  cord 
between  her  fingers.     The  head  is  very  narrow  from  front  to  back. 

8.  London,  Brit.  Mus.  D  37.     H.  ;±-  in. 

Shoulder  typical;  the  maeander  seems  to  be  in  a  dull  brown;  drawn  in  rather  fine 
lines  which  are  hardly  as  shiny  as  the  lines  enclosing  the  maeander. 

At  the  left  a  pithos  is  half  buried  in  the  ground,  the  left  side  of  it  cut  off  by  a  line 
ending  at  the  lip.  At  the  right  a  naked  youth,  his  left  foot  in  the  air,  has  plunged  his 
head  and  arms  into  the  pithos. 

Large  pithoi  of  this  character  were  half  buried  in  the  ground  for 
the  purpose  of  storing  wine,  oil,  grain,  etc.3  On  vase  paintings  it  is 
seen  in  the  familiar  picture  of  Eurystheus  trying  to  escape  Cerberus.4 
This  youth,  like  the  satyr  on  a  red-figured  lekythos  in  Karlsruhe,  is 
reaching  down  to  fill  a  vessel  with  some  of  the  wine  in  the  bottom  of 
the  pithos.5  The  appearance  of  this  scene  on  a  white  lekythos  is  to 
be  noted  as  one  of  the  cases  now  becoming  rare  in  which  a  scene  from 
red-figured  ware  is  repeated  on  vases  of  this  type. 

9.  Jena,  Univ.  Mus.  461.     Athens.     Original  height  about  0.25  m. 
Miinsterberg,   Arch.   Epigr.  Mitteilungen,  XV,   135.     Schadow,  Eine 
attische  Grablekytkos,  fig.  I. 

Ornament  typical,  but  no  purple  lines  on  the  black  beneath  the  white  slip. 

At  the  right  a  large  pithos  is  half  buried  in  the  ground;  one  little  i/'ux'?  i§  entering 
it,  a  second  just  emerging,  and  two  others  are  flying  above.  At  the  left  Hermes,  the  kery- 
keion  in  his  left  hand,  holds  his  rhabdos  over  the  pithos.  He  wears  chlamys,  a  conical 
cap,  and  high  boots. 

1  Roscher,  Lexikon,  II,  103,  from  Gerhard,  Aus.  Vasen.  Taf.  xlvi,  Iris  as  messenger  at  the  contest  of 
Apollo  and  Idas  for  Marpessa  (?)  ;   Roscher,  Lexikon,  II,  330;  Annali  1878  G,  a  skyphos  from  Ruvo  in  the 
collection  Jatta. 

2  Cf.  supra,  p.  41  f.  8  E.g.  a  krater  in  Bologna,  Mus.  Ital.  II,  23,  (87). 

4  E.g.  a  hydria  in  the  Louvre,  Man.  Inst.  VI- VII,  Tav.  xxxvi.  6  Karlsruhe,  Winnefeld,  219. 


GROUP   D:  CLASS  VII,  2,  7-8  307 

The  pithos  buried  in  the  ground  also  served  as  a  place  of  burial; 
sometimes  it  was  completely  buried  and  served  as  a  sort  of  sarcophagus,1 
sometimes  it  projected  from  the  ground  and  was  decorated  as  a  sort 
of  grave  monument.2  Perhaps  the  scene  on  a  jar  in  the  Hermitage 
Museum 3  is  to  be  explained  from  this  standpoint.  Between  two 
centaurs  is  a  huge  half-buried  pithos  from  which  Herakles  has  just 
lifted  the  wrapped-up  body  of  a  child;  on  the  wrappings  is  depicted 
a  serpent.  This  pithos  had  served  as  a  place  of  burial  for  a  child. 
The  serpent  is  simply  the  representation  of  the  soul  of  the  child,  hover- 
ing about  the  place  of  burial.4  On  the  Jena  lekythos  the  pithos  evi- 
dently takes  the  place  of  the  tomb,  and  souls  hover  about  it  as  about 
other  grave  monuments,  except  that  here  the  souls  are  going  in  and 
coming  out  of  the  entrance.  The  conception  of  an  entrance  to  the 
lower  world  through  which  souls  may  come  and  go  is  familiar  enough 
in  Greek  thought,  and  Hermes  is  their  conductor,  Psychopompos.5 
Nor  is  there  any  question  as  to  the  occasion  when  Athenians  thought 
that  souls  had  this  liberty;  the  belief  is  intimately  connected  with  the 
festival  of  the  Anthesteria.  We  may  now  ask  why  a  pithos  was  chosen 
to  indicate  the  entrance  by  which  they  came  and  returned.  Why  else 
than  that  the  first  day  of  the  Anthesteria  was  known  as  the  Pithoigia, 
for  on  this  day  the  pithoi  of  Dionysos  were  opened  ?  That  name  served 
to  recall  an  old,  in  Athens  long  disused,  form  of  burial,  and  the  lekythos 
is  evidence  that  in  popular  thought  the  opening  of  one  kind  of  pithoi 
suggested  the  opening  of  burial  pithoi  as  an  easy  and  natural  method 
for  souls  to  come  and  go.  I  cannot  find  in  the  picture  under  considera- 
tion even  a  slender  argument  to  prove  that  the  Pithoigia  was  originally 
anything  else  than  a  rite  connected  with  the  religion  of  Dionysos. 
There  is  absolutely  no  evidence  that  the  pithoi  were  so  connected  with 
burial  that  this  name,  Pithoigia,  would  naturally  have  arisen  to  denote 
the  evocation  of  souls.8 

10.    Karlsruhe,  B.  2663.     H.  0.23  m.     Plate  XIV,  4. 

The  lines  on  the  shoulder  have  nearly  disappeared;  foot  as  in  series  I;  drawn  in 
coarse  lines  of  gray-yellow  glaze. 

At  the  left  are  reeds  about  the  high  stern  of  a  boat,  its  oars  in  the  oarlocks.  Charon 
stands  with  his  left  hand  on  the  stern,  his  right  on  a  high  pole;  he  wears  a  short  chiton 
and  belt  and  has  a  petasos  at  the  back  of  his  head.  There  is  nothing  rude  or  repulsive 
about  his  face.  Towjfd  him  over  the  prow  of  the  boat  flies  a  soul  in  long  skirts. 

1  Atb.  Mink.  1893,  S.  99  and  1 18,  grave  X  ;  Schadow,  p.  8  f.  *  Schadow,  p.  10  f. 

8  Steph.   1271,  Comptet  renJui,  1873,  p.  91,  Atlat^  pi.  r. 

4  Cf.  serpent  and  soul  on  the  vase  published  in  the  A/on.  Intt.  VIII,  Tav.  viii. 

•  Odyss.  xxiv,  if.  •  As  Miss  Harrison  suggests,  Prolegomena  /»  tkt  Study  of  Grett  Re.'igit*,  41  f. 


3o8  ATHENIAN  WHITE   LEKYTHOI 

ica.    Oxford,  Ashm.  Mus.  (acquired  in  1899).     H.  0.24  m. 

The  typical  ornament  is  in  nearly  black  glaze;  the  lines  of  the  scene  vary  from  yellow 
to  black. 

At  the  left  are  reeds  about  the  high  stern  of  a  boat;    no  oars  are  given. 

Charon  with  his  pole  in  his  left  hand  seems  to  be  moving  toward  the  right  in  the 
boat  and  extends  his  right  hand  toward  a  soul  in  long  skirts  which  flies  to  meet  him  with 
hands  stretched  out  toward  him.  He  wears  a  pilos  and  a  short  chiton  girded  up;  there 
is  nothing  repulsive  about  the  face. 

11.  Athens,  Dealer's  Shop.     H.  about  0.25  m. 

Purple  lines  below  the  white  slip  have  disappeared;  drawn  in  rather  coarse  lines  of 
brownish  yellow  glaze. 

At  the  left  Charon  is  drawing  his  boat  to  shore  with  a  pole  in  both  hands.  He  wears 
a  short  chiton;  his  face  is  of  the  ruder  type.  In  front  of  him  a  soul  in  long  skirts  flies 
toward  him. 

At  the  right  a  woman  (?)  closely  draped  in  chiton  and  himation  stands  waiting  for 
Charon. 

12.  Oxford,    Ashm.    Mus.    Gard.    264.     Ceramicus,   Athens.     H. 
0.25  m. 

Ornament  like  the  previous  number. 

At  the  left  Charon  stands  in  a  boat  holding  a  pole  in  his  left  hand  and  extending  his 
right  hand;  he  wears  pilos  and  exomis.  A  soul  is  flying  toward  him  with  a  gesture  of 
mourning. 

At  the  right  a  youth  with  short  hair  stands  holding  out  his  right  hand;  he  wears  a 
chiton  and  himation. 

The  Charon  scene  was  discussed  in  connection  with  two  vases  of 
Class  V  1  and  one  of  Class  VI.2  In  these  cases  also  Charon  is  drawing 
his  boat  to  the  shore  to  receive  a  dead  person;  on  nos.  10  and  loa, 
however,  perhaps  he  is  about  to  push  his  boat  out  from  the  reeds,  as 
a  soul  flies  to  meet  him.  On  no.  n  the  Charon  is  of  the  same  rude 
realistic  type  as  on  the  lekythoi  of  Classes  V  and  VI;  on  the  other 
hand  the  Charon  of  nos.  10  and  loa  is  reduced  to  the  conventionalized 
type  of  bearded  man  found  on  other  lekythoi  of  the  present  class.  The 
two  types  of  Charon  on  later  vases  are  perhaps  due  to  this  early  waver- 
ing between  the  individual  Charon  and  the  general  bearded  man  serving 
as  Charon.  That  the  Charon  scene  occurs  on  these  lekythoi,  more- 
over a  Charon  scene  of  the  same  character  as  that  found  in  Group  C, 
indicates  that  at  least  a  part  of  Group  D  is  parallel  in  time  to 
Group  C.  At  the  same  time  the  drawing  as  well  as  the  technique 

1  C  V,  7,  Munich,  209  ;  C  V,  8,  Boston,  6545. 

2  C  VI,  i,  no.  7,  Berlin,  Inven.  3160. 


GROUP   D:   CLASS   VII,  2,  103-15  309 

show  that  we  are  dealing  with  an  entirely  different  industrial  current 
here. 

The  type  of  soul  has  already  been  discussed  in  connection  with  the 
Boston  Charon  scene.1  On  these  vases  we  find  the  same  type  as  there, 
a  winged  figure  larger  than  became  usual  on  later  lekythoi,  with  large, 
broad  wings  like  those  of  Nike,  and  clothed  in  a  long  chiton  as  was 
Nike.  On  the  Jena  lekythos  just  discussed  (no.  9)  the  garment  is 
entirely  lacking,  but  the  wings  are  of  the  same  type;  those  are  souls 
that  have  been  in  Hades  and  have  returned,  it  would  seem  that  these 
souls  are  in  closer  contact  with  this  world  so  that  they  still  wear  human 
clothing. 

13.  Athens,   Nat.    Mus.    2030,   Cv.    1059.     H.    0.23    m.     Pettier, 
Lecythes  blancs,  p.   145,  44.      Festschrift  fiir  O.  Benndorf,  S.  92,  4. 

Shoulder  and  maeander  as  usual;   foot  as  in  series  I. 

A  woman  advances  to  the  right,  carrying  on  her  head  a  large  basket  of  taeniae;  she 
wears  chiton  and  himation  which  covers  both  shoulders;  in  one  hand  she  holds  a 
flower  (?). 

14.  Paris,  Cab.  Med.  77,  de  Ridder,  498.     H.  0.24  m.     Gaz.  Arch. 
1885,  p.  279;   de  Ridder,  Catalogue,  pi.  xx. 

Shoulder  as  usual;   maeander  above  is  black;   foot  as  in  series  I;   coarse  style. 
A  woman  advances  to  the  right,  carrying  on  her  head  a  basket  which  she  steadies 
with  her  left  hand;   in  her  right  hand  she  holds  out  a  wreath  of  leaves. 

The  picture  of  a  woman  preparing  a  basket  to  carry  to  the  grave 
or  carrying  the  basket  in  her  hands  is  one  of  the  commoner  scenes  in 
each  class  of  lekythoi;2  it  may  be  regarded  as  a  trace  of  literalism 
here  that  the  basket  is  carried  on  the  head  rather  than  in  the  hands. 

15.  Paris,  Cab.  Med.  725,  de  Ridder  496.    Locri.     H.  0.195  m- 
Gaz.  Arch.  1885,  p.  282,  II ;  De  Luynes,  Vases  peints,  pi.  xvii;   Eranos 
yindobonensis,  S.  39;    Roscher,  Lexikon,  III,  720,  no.  6;    Hartwig, 
Meisterscbalen,  S.  644,  I. 

Shoulder  as  usual;  the  maeander  pattern  is  "abbreviated";  white  slip  hard  and 
shiny. 

At  the  left  a  sphinx  crouches  on  a  square  block  which  stands  on  a  base  of  three  steps. 

Opposite  it  an  ephebos  carrying  shield  (serpent  as  sign)  and  two  spears  stands  look- 
ing at  the  sphinx. 

In  some  instances  there  is  no  question  that  the  sphinx  and  ephebos 

1  C  V,  8,  Boston,  6545. 

s  E.g.  A  II,  19,  Athens,   Nat.  Mus.  1975  ;  A  III,  aa,  Brit.  Mu».  D  76;  B  IV,  i,  no.  ao,  Atbent, 
Nat.  Mus.  1953. 


3io  ATHENIAN  WHITE  LEKYTHOI 

are  intended  to  mean  Oedipus  and  the  Theban  sphinx; 1  in  others  the 
sphinx  is  to  be  regarded  rather  as  an  oracle;2  finally  there  are  cases 
when  the  sphinx  may  be  a  grave  monument,  though  when  the  sphinx 
is  on  a  column  this  interpretation  does  not  seem  to  me  the  most  natural 
one.3  Perhaps  the  nearest  parallel  to  this  lekythos  is  a  vase  figured 
by  Tischbein  where  the  sphinx  stands  on  a  rock.4  Even  if  we  assume 
that  it  is  the  Theban  (oracular)  sphinx  that  is  figured  on  all  these 
vases,  the  sphinx  on  a  block  supported  by  three  steps,  which  we  find 
on  this  lekythos,  will  be  regarded  as  a  grave  monument.  This  would 
not  be  the  only  instance  when  the  lekythos  painter  has  adapted  some 
scene  from  red-figured  ware  in  such  manner  as  to  give  it  a  funerary 
meaning.  That  the  sphinx  was  a  symbol  used  in  connection  with  graves 
has  been  remarked  above.5 

16.  Bologna,  Mus.  Civ.  Pell  354.     H.  0.165  m- 

Shoulder  and  maeander  as  usual;  three  lines  now  white  on  the  black  beneath  the 
chalky  white  slip. 

At  the  right  is  an  Ionic  pillar.  Turning  away  from  the  pillar  and  seen  from  behind 
a  youth  leans  on  a  stick  which  holds  up  his  garment.  His  head  is  small;  the  hair  falls 
in  curls  about  his  neck. 

17.  Munich,  Jahn,  201.     H.  0.233  m- 

Lower  row  of  bars  on  the  shoulder  much  heavier  than  the  upper;  foot  as  in  series  I ; 
white  slip  apparently  covered  with  a  transparent  varnish  in  which  small  cracks  are 
visible. 

At  the  left  is  a  stele  with  round  top  adorned  with  a  taenia,  in  front  of  a  tumulus  on 
which  also  hangs  a  taenia.  Facing  this  and  seen  from  behind  is  a  youth  who  holds  his 
himation  around  his  body  and  under  his  left  arm.  The  figure  is  clumsy,  but  the  face  is 
drawn  with  more  care.  In  front  of  him  hangs  a  wreath. 

The  figure  of  a  man  leaning  on  a  stick  which  holds  up  his  garments 
has  been  noted  several  times  under  Groups  A  and  C; 6  this  figure  is 
often  drawn  as  seen  from  behind  on  earlier  red-figured  vases  and  in 
one  instance  it  is  so  drawn  on  a  lekythos  of  Class  III.7  The  connections 
pointed  out  between  the  present  group  and  groups  A  and  C  emphasize 
the  fact  that  Group  D  was  a  side  issue,  exercising  little  or  no  influ- 

1  Hartwig,    Meiiterschalcn,    Ixxiii,    kylix    in    the    Vatican;     lekythos,    Boston    Museum,    P.   7614, 
OlAlfOY^  ;   cp.  the  gem  figured  by  Millin,  Gall.  myth.  138,  505,  and  supra,  p.  298. 

2  Annali,  1867,  p.  379,  Tav.  I  ;    Bull.  Nap.  IV,  p.   105,  Tav.  v. 

8  Vienna,  Masner,  336,  Man.  Inst.  VIII,  Tav.  xlv  ;  Tischbein,  HI,  pi.  xxxiv. 

4  Tischbein,  II,  pi.  xxiv. 

6  Cf.  under  D  VII  i,  no.  14,  Athens,  Nat.  Mus.  1885. 

6  A  III,  no.  23,   Naples,  2432  ;  no.  43,  Bologna,  358  ;    A  I,  nos.  1-3,  C  VI,  2,  no.  5,  Paris  Cab. 
Med.  504. 

7  Munich,  Jahn,  199,  A  III,  no.  55. 


GROUP   D:  CLASS  VII,  2,  16-23  3" 

ence  on  other  classes  of  lekythoi  with  outline  drawing.  The  stele  in 
front  of  a  tumulus  has  been  mentioned  as  occurring  on  nos.  17,  18,  and 
19  of  series  i. 

18.  Athens,  Nat.  Mus.   1780,  Cv.   1045.     H.  0.15  m.     Benndorf, 
Griech.  Sic.    Vas.  Taf.  xxiv,  3. 

Rude  workmanship;    foot  simple. 

At  the  left  is  a  stele  with  round  top  adorned  by  a  taenia,  in  front  of  a  tumulus. 
A  woman  kneeling  before  it  tears  her  hair  with  both  hands;  she  wears  a  chiton  girded 
over  the  overfold. 

19.  Athens,  Private  Collection.     Benndorf,  Griech.  Sic.   Vas.  Taf. 
xxiv,  i. 

Very  rude  workmanship. 

At  the  right  on  three  steps  stand  tumulus  and  stele  with  triangular  top;  on  the  stele 
are  tied  taeniae.  Before  them  a  woman  stands  tearing  her  hair  with  both  hands;  she 
wears  a  chiton  girded  over  the  overfold. 

20.  Paris,  Cab.  Med.  4906,  de  Ridder  501.     Aegina.     H.  0.225  m- 
Gaz.  Arch.  1885,  p.  278,  5. 

Ornament  typical;    drawing  rude. 

At  the  left  stele  and  tumulus  rest  directly  on  the  ground;  on  both  are  traces  of  red  (  ?) 
taeniae.  Before  them  a  draped  woman,  her  face  now  disappeared,  stands  tearing  her 
hair  with  both  hands. 

These  three  lekythoi  repeat  with  slight  variations  the  scene  discussed 
under  no.  18  of  series  i;  the  only  difference  that  appears  between  the 
two  series  at  this  point  it  that  there  is  greater  variety  in  execution  along 
with  the  less  elaborate  ornamentation  of  the  vases  under  series  2. 

21.  Athens,    Nat.    Mus.    1904,    Cv.    1073.     Ceramicus.     AeXnW, 
1890,  a:  34,  28. 

Careless  workmanship;    foot  simple. 

At  the  right  a  stele  with  triangular  top  in  front  of  tumulus,  both  resting  on  the  ground. 
Before  it  a  woman  wearing  chiton  and  himation  extends  both  hands  (as  if  with  taenia) 
toward  the  stele. 

22.  Cambridge,  Fitz.  Mus.  142.     Athens.     H.  0.22  m. 

Ornament  typical. 

At  the  left  a  stele  with  triangular  top,  in  front  of  tumulus,  resting  on  two  steps. 
At  the  right  a  woman  wearing  chiton  and  himation  holds  out  her  right  hand  toward 
the  stele.  Behind  her  hangs  a  wreath. 

23.  Karlsruhe,  Winn.  236.     Athens.     H.  0.15  m. 

Ornament  typical;  the  slip  is  not  shiny.  The  vase  is  heavy  and  the  workmanship 
rude.  Foot  simple,  spreading.  The  glaze  has  almost  faded  to  dull  brown. 


312 


ATHENIAN  WHITE   LEKYTHOI 


At  the  left  a  stele  with  triangular  top  in  front  of  tumulus,  resting  on  the  ground. 
A  woman  approaches  it,  wearing  chiton  and  a  large  mantle  which  covers  both  hands; 
on  her  head  is  a  stephane. 

24.  Athens,  Nat.  Mus.  1781  (Coll.  677),  Cv.  1046.     H.  0.195  m- 

Ornament  typical;    foot  simple. 

At  the  left  a  stele  with  triangular  top  on  one  step  in  front  of  tumulus.  At  the 
right  a  woman  wearing  sleeve  chiton  and  himation  moves  away,  looks  back,  and  holds 
a  torch  back  toward  the  grave. 

On  no.  19  of  series  I  the  woman  holds  out  a  taenia  with  both  hands 
toward  the  stele  and  mound;  no.  21  here  may  be  an  abbreviation  of  this 
scene,  or  it  may  be  that  the  hands  are  extended  as  on  no.  22  to  indicate 
her  interest  in  the  stele.  The  torch  (no.  24)  is  often  found  on  altar 
scenes  on  lekythoi  of  Group  A;1  here  it  is  possible  that  the  torch  is 
intended  to  suggest  in  a  realistic  manner  that  the  visit  to  the  grave  took 
place  at  night. 

25.  Athens,  Private  Collection.     H.  to  shoulder  o.n  m. 

Ornament  typical;    foot  as  in  series  I. 

A  tumulus  stands  in  front  of  two  smaller  tumuli.  In  front  of  the  larger  one  is  seen 
a  person  moving  toward  the  right  and  looking  back,  holding  the  right  hand  back. 

26.  Athens,  Private  Collection.     H.  0.229  m-     (Fig-  55-) 

Ornament  typical;    foot  as  in  series  I. 

A  tumulus  stands  on  a  single  step;  from  its  top,  as  if  inside, 
hang  a  taenia  and  a  mirror.  In  front  of  it  on  a  chair  with  back  sits 
a  woman  facing  toward  the  right,  who  holds  up  a  wreath  in  both 
hands;  she  wears  sleeve  chiton  and  himation;  her  hair  is  in  a  large 
dotted  cloth. 

26a.    Coll.     Elgin.       Burlington     Fine 
Arts  Club   Exhibition,    1903    Cat.,  no.  25. 

Neck  broken;    the  shoulder  ornament  and   mae- 

FIG.  55  (no.  26).    ander  are  typical. 

On  three  low  steps  stands  a  wide  stele  (or  tumu- 
lus) rounding  up  to  a  point  at  the  top.  On  the  upper  step  is  the  repre- 
sentation of  a  woman  seated  on  a  chair  and  leaning  well  forward  with 
a  wreath  in  both  hands.  She  wears  chiton  and  himation.  Above 
the  scene  an  ornamented  moulding  runs  across  the  stele. 

27.  Athens,  Private  Collection.     H.  to  shoulder  o.n 
m.   (Fig.  56). 

Ornament  typical;    foot  as  in  series  I;    the  neck  is  lost. 
1  E.g.  A  II,  no.  n,  Berlin,  Inven.  3312. 


GROUP   D:   CLASS   VII,  2,  24-28  313 

On  three  steps  stands  a  stele  with  triangular  top  in  front  of  a  tumulus.  On  the  left 
side  of  the  tumulus  stands  a  crow,  on  the  right  a  hare  (  ?).  On  the  upper  part  of  the 
stele  is  the  relief  of  a  woman  seated  on  a  stool;  she  wears  a  chiton  and  a  himation  which 
is  closely  draped  around  her;  her  hair  is  in  a  knot  at  the  back  of  her  head. 

Taking  these  four  lekythoi  together,  we  can  have  no  question  that 
in  each  instance  the  figure  is  intended  to  refer  to  the  dead  person  rather 
than  to  any  visitor  at  the  tomb.  In  the  last  instance  we  have  a  relief 
awkwardly  combined  with  the  triangular-topped  stele  which  has  become 
the  typical  form  for  this  set  of  lekythoi;  the  painter  is  accustomed  to 
see  a  single  figure  carved  on  the  grave  stele,  but  instead  of  taking  such 
a  figure  he  takes  a  type  of  seated  woman  which  he  has  painted  by  itself 
on  lekythoi  and  makes  of  that  his  relief.  On  no.  26  the  freedom  of 
the  painter  is  even  more  marked.  No  stele  is  given  at  all;  instead  we 
see  the  seated  woman  holding  a  wreath,  whom  we  have  often  noted 
before,1  and  above  her  hang  the  taenia  and  mirror  often  drawn  in  the 
field.  Possibly  she  is  to  be  conceived  as  inside  the  tumulus;  more 
probably  a  stele  carved  in  relief  is  intended,  and  the  painter  has  omitted 
it  in  order  not  to  complicate  matters  unduly.  On  no.  263  the  stele 
has  been  widened  into  the  form  of  a  tumulus.  Finally  the  moving 
figure  on  no.  25,  a  type  also  familiar,2  should  probably  be  regarded  as 
intended  for  a  relief  figure  on  a  stele,  the  outline  of  which  is  omitted. 
The  literalism  of  the  painter  in  adding  the  crow  and  hare  (?)  on  no.  27 
is  possibly  a  reminiscence  of  such  a  scene  as  the  hare  hunt  on  a  lekythos 
of  Class  V;3  in  any  case  it  is  a  touch  of  nature  which  shows  that  the 
painter  does  not  feel  himself  bound  by  the  types  which  in  the  main  he 
follows. 

28.  Paris,  Louvre.  H.  O.22.  Benndorf,  Griech.  Sic.  Vas.  Taf. 
xix,  2. 

Ornament  typical ;  foot  as  in  series  I ;  three  lines  now  white  on  the  black  below  the 
white  slip.  The  slip  is  slightly  yellow,  shiny. 

At  the  left  a  woman  approaches  the  stele  to  put  a  wreath  on  it;  she  wears  a  "shawl" 
over  a  Doric  chiton;  her  hair  is  in  a  cloth.  Before  her  a  high  stele  stands  on  three  steps. 
On  the  upper  part  of  it  is  seen  a  woman,  closely  draped,  seated  on  a  stool;  behind  her 
hangs  a  taenia,  in  front  a  mirror. 

The  presence  of  the  taenia  and  mirror  with  the  seated  figure  as  on 
no.  26  indicate  that  exactly  the  same  scene  was  in  the  mind  of  the 

1  B  IV,  i,  no.  25,  Athens,  Nat.  Mus.  1816. 

8  E.g.  D  VII,  i,  no.  7,  Athens,  Nat.  Mu».  1873  ;  cp.  al«o  the  figure  in  front  of  a  tumulus  D  VII, 
I,  no.  15,  Athens,  Nat.  Mus.  1876. 

•  C  VI,  i,  no.  i,  Brit.  Mus.  D  60. 


3i4  ATHENIAN  WHITE   LEKYTHOI 

makers  of  both  these  lekythoi;   i.e.  this  lekythos  confirms  the  interpre- 
tation that  was  given  for  no.  26. 

29.  Berlin.     H.  0.22  m.     Benndorf,  Griecb.  Sic.  Vas.  Taf.  xix,  5. 

Ornament  typical;  the  shiny  white  slip  is  quite  thin;  drawing  in  glaze  that  varies 
from  yellow  to  black. 

On  three  steps  stands  an  unusually  large  stele  with  triangular  top;  on  either  side 
appears  the  end  of  a  taenia.  In  front  of  it  on  a  square  block  sits  a  woman  on  a  stool 
holding  a  wreath  in  both  hands;  she  wears  sleeve  chiton  and  himation.  A  taenia  is 
draped  around  the  block  and  a  mirror  hangs  from  its  top. 

The  large  stele  seems  to  be  a  compromise  between  a  stele  and  a 
tumulus,  as  on  no.  26a;  perhaps  the  block  in  front  should  be  regarded 
as  the  stele  proper.  Although  the  woman  is  seated  on  top  of  this 
block,  it  should  probably  be  interpreted,  like  the  other  scenes  with  which 
it  is  so  closely  related  (cp.  taenia  and  mirror),  as  a  relief. 

30.  Munich,  Jahn,  198  (1585).     H.  0.145  m. 

Ornament  typical;    glaze  varying  from  orange  yellow  to  black. 

A  large  tumulus  stands  on  a  single  step.  In  front  of  it  (in  relief)  a  woman  sits  facing 
toward  the  right,  holding  out  her  hand;  she  wears  a  sleeve  chiton. 

31.  Berlin,  Furtw.  2246.     Athens.     H.  0.195  m. 

Ornament  typical;  three  purple  lines  on  the  black  beneath  the  white  slip;  drawn  in 
flat  lines  of  thin  yellow  glaze,  varying  to  black  on  the  hair. 

On  three  steps  stand  a  tumulus  and  a  stele  with  curved  triangular  top.  In  front 
of  the  stele  (in  relief)  a  youth  sits  facing  toward  the  right;  in  his  left  hand  is  a  stick,  with 
his  right  he  holds  a  flower  to  his  nose;  he  is  wrapped  in  a  himation. 

32.  Paris,  Cab.  Med.  83,  de  Ridder  495.     H.  0.20  m. 

Shoulder  as  usual;    above  the  scene  a  row  of  zigzag  lines. 

On  a  step,  decorated  by  curved  lines,  stands  a  tumulus  from  the  top  of  which  hangs  a 
taenia.  On  the  upper  step,  in  front  of  the  tumulus,  a  naked  boy  moves  toward  the  right 
with  his  hands  extended. 

33.  Athens,  Private  Collection.     Attica.     H.  0.193  m. 

Ornament  typical;   foot  as  in  series  I;   the  lekythos  is  unusually  heavy. 
A  naked  youth  rapidly  approaches  a  tumulus  and  holds  out  his  hands  over  it.     The 
anatomy  of  the  body  is  hastily  indicated. 

33a.  Burlington  Fine  Arts  Club  Exhibition,  1903.  Catalogue, 
no.  28. 

Neck  broken;   ornament  typical. 

A  woman,  clad  in  chiton  and  himation  and  wearing  a  pointed  cap,  pours  a  libation 
at  a  tomb.  The  tomb  is  a  high  round  tumulus  on  a  plinth;  around  the  top  of  it  is  a 
taenia  and  against  the  side  of  it  rests  a  wreath. 

34.  London,  Brit.  Mus.  D  43.     H.  7^  in. 


GROUP   D:   CLASS   VII,  2,  29-37  3*5 

Ornament  typical. 

At  the  right  a  small  tumulus  rests  on  a  base  of  three  steps.  A  woman  approaches 
it,  holding  out  on  both  arms  an  ornamented  square  box;  she  wears  a  sleeve  chiton,  hima- 
tion,  and  dotted  sakkos. 

The  box,  evidently  used  to  carry  objects  for  worship  at  the  tomb, 
has  often  been  noted,  though  it  rarely  occurs  except  on  the  small 
lekythoi  of  Class  III  and  Class  VII.  The  dotted  sakkos  occurs  quite 
commonly  within  the  present  class,  along  with  the  sleeve  chiton  and 
himation,  as  the  characteristic  dress  of  women;  in  Class  V  the  sakkos 
hanging  on  the  wall  is  sometimes  decorated  in  this  manner,  but  when 
worn  it  is  left  plain  by  the  painter. 

35.  Athens,  Nat.  Mus.  2036,  Cv.  1070.     H.  0.23  m. 

Ornament  typical;    foot  as  in  series  I. 

At  the  left  is  a  slender  stele  on  three  steps;  on  top  of  it  is  a  small  alabastron  (?  ). 
At  the  right  a  youth,  carrying  in  his  right  hand  a  spear,  moves  away  and  looks  back;  he 
wears  short  chiton,  chlamys,  petasos  on  the  shoulder,  and  boots. 

The  youth  in  this  attitude  has  already  appeared  in  series  I  (no.  17). 
The  vase  on  top  of  the  stele  is  not  common  on  lekythoi;  in  fact,  it  seems 
to  have  been  a  very  common  type  of  grave  monument,  and  occasionally 
it  is  copied  by  a  lekythos  painter  in  a  vein  of  literalness.1  Why  it  was 
neglected  in  the  traditional  stelai  of  these  painters  cannot  be  explained. 

36.  London,  Brit.  Mus.  D  41.     H.  6  in. 

Ornament  typical;    foot  simple. 

At  the  right  a  slender  stele  with  square  top  and  a  tumulus  (?)  stand  on  two  steps. 
At  the  left  a  woman  with  short  hair  stands  facing  the  left  and  holding  out  a  taenia  in 
her  right  hand;    she  wears  sleeve  chiton  and  himation. 

There  seems  to  be  no  doubt  that  the  curved  lines  on  each  side  of  the 
stele  indicate  a  tumulus,  though  the  shape  is  quite  different  from  what 
is  usually  seen  on  lekythoi  of  this  class.2  Without  changing  his  types 
the  painter  of  this  lekythos  gets  variety  by  turning  the  figure  away 
from  the  tomb,  as  though  her  attention  had  been  attracted  by  some 
one  who  approached. 

37.  London,  Brit.  Mus.  D  36.     H.  8f  in. 

Shoulder  and  maeander  as  usual;  slip  very  white;  on  the  black  beneath  the  slip  are 
six  purple  lines;  foot  simple. 

At  the  right  on  three  steps  stands  a  broad  stele  with  triangular  top;  about  it  a  taenia. 
Before  it  a  woman  stands,  holding  out  in  both  hands  a  wreath  which  she  is  about  to  place 
on  the  stele.  She  wears  a  chiton  and  a  mantle  over  both  arms;  her  hair  is  in  a  dotted 
sakkos,  and  she  wears  ear-rings. 

1  C  V,  no.  10,  Munich ;  no.  16,  Cornell  Unirenity. 

*Cp.  the  egg-shaped  tumulus  of  CLan  V,  e.g.  no.  11,  Athens,  Nat.  M«u.  1935. 


3i6  ATHENIAN  WHITE   LEKYTHOI 

38.     Athens,  Nat.  Mus.  1803,  Cv.  1051.     H.  0.195  m- 

The  maeander  above  the  scene  was  never  put  in;  purple  lines  on  the  black  below  the 
white  slip;  foot  as  in  series  i. 

At  the  left  on  two  steps  stands  a  slender  stele  with  triangular  top;  near  the  top  hangs 
a  wreath.  In  the  field  hangs  a  taenia.  A  woman  stands  holding  out  a  taenia  in  her 
right  hand  toward  the  stele;  she  wears  chiton  and  himation,  which  is  over  both  arms; 
her  hair  is  in  a  roll  at  the  back  of  her  head,  and  ear-rings  are  in  her  ears. 

40.  Athens,  Nat.  Mus.  1903,  Cv.   1824.     Ceramicus.     H.  0.26  m. 
AeXrioi',  1890,  cr.  34,  34. 

Ornament  typical;    foot  simple. 

At  the  right  a  stele  with  round  top  stands  on  two  steps;  around  it  is  tied  a  taenia. 
A  youth  wearing  a  himation  leans  on  his  staff  and  holds  out  a  taenia  in  both  hands 
toward  the  stele;  the  garment  is  awkwardly  drawn.1 

41.  Munich,  Jahn,  222  (1591).     H.  0.222  m. 

The  bars  on  the  shoulder  are  slanting  instead  of  radial;  maeander  and  slip  as  usual. 
The  vase  is  in  poor  condition. 

At  the  right  on  two  steps  stands  a  slender  stele  with  palmette  (?)  at  the  top.  Before 
it  is  a  woman  in  long  chiton,  with  fine  folds,  and  himation;  she  holds  out  both  hands  as 
if  with  a  wreath. 

42.  Paris,  Cab.  Med.  737,  de  Ridder  497.     Locri.     H.  0.185  m- 
Gaz.  Arch.  1885,  p.  279,  6;    de  Luynes,  Vases  peints,  pi.  xviii. 

On  the  red  shoulder  are  rays  in  dark  red;   above  the  scene  an  abbreviated  maeander. 

At  the  left  a  rather  broad  stele  with  ornate  triangular  top  stands  on  two  steps.  Before 
it  a  woman  stands  carrying  a  basket  (kalathos  or  sitla?}  by  the  handle  in  her  left  hand 
and  holding  out  a  phiale  in  her  right.  She  wears  a  sleeveless  chiton,  and  a  rather  small 
himation  put  on  like  a  chlamys;  her  hair  is  in  a  knot  at  the  top  of  her  head. 

43.  Athens,  Nat.  Mus.  1871,  Cv.  1050.     H.  0.15  m. 

Shoulder  and  maeander  as  usual;    carelessly  drawn. 

At  the  left  a  stele  with  triangular  top  stands  on  two  steps.  A  woman  wearing  chiton 
and  himation  approaches  the  stele.  In  the  field  behind  her  hangs  a  "purse"  (sakkos  ?). 

44.  Athens,  Nat.  Mus.  1872,  Cv.  1049.     H.  0.16  m. 

This  vase  is  a  duplicate  of  the  last-mentioned,  except  that  the  "  purse  "  in  the  field  is 
omitted. 

These  last  two  vases  are  poor  and  uninteresting,  except  for  the 
"  purse  "  that  hangs  in  the  field  on  no.  43.  On  vases  of  Class  V  a 
sakkos  is  frequently  seen  hanging  in  the  field;  on  red-figured  vases 
travellers,  and  in  particular  Hermes,  are  often  figured  carrying  a  purse 

1  For  this  figure  see  no.  1 7  above. 


GROUP   D:   CLASS   VII,  2,  38-44  317 

or  wallet.  The  painter  seems  to  have  confused  these  two  things,  putting 
the  purse  where  he  has  been  wont  to  see  the  sakkos  on  the  large  fine 
vases  of  the  earlier  class. 


Of  the  lekythoi  considered  under  series  2  one  is  said  to  have  come 
from  Aegina  and  two  from  Locri ;  the  rest,  so  far  as  their  provenance  is 
known,  were  found  in  or  about  the  city  of  Athens.  The  only  outline 
lekythoi  found  in  Italy  belong  to  Group  A,  so  that  if  the  statement 
as  to  the  source  of  nos.  15  and  42  be  correct,  it  may  be  regarded  as 
further  evidence  proving  the  connection  of  this  class  with  Class  III. 

The  size  of  these  lekythoi,  as  well  as  their  ornamentation,  varies 
more  than  in  those  considered  under  the  first  series;  in  height  they 
vary  from  0.15  to  0.26  m.,  while  those  in  series  I  were  most  of  them 
about  0.22  m.  high.  All  but  one  or  two  have  the  two  rows  of  bars  on  the 
shoulder,  but  these  show  some  variation  in  the  manner  in  which  they 
are  drawn.  The  maeander  is  rarely  omitted  entirely,  in  which  case  a 
blank  space  is  left  as  if  the  omission  were  due  to  carelessness;  several 
times  it  is  abbreviated  or  replaced  by  a  broken  line,  but  on  most  of 
the  specimens  it  is  given  in  the  same  manner  as  on  series  I.  The  slip 
varies  from  the  very  white,  often  shiny  appearance,  to  a  brownish  white. 
The  drawing  is  occasionally  careful,  more  careful  than  on  any  specimens 
under  the  first  series;  on  other  vases  it  is  decidedly  more  careless.  The 
typical  broad  lines  of  yellow  glaze  continue,  sometimes  becoming  black 
as  the  glaze  is  applied  more  thickly  for  the  hair.  Purple  lines  on  the 
black  beneath  the  white  slip  are  found  on  perhaps  a  third  of  the  speci- 
mens; in  one  instance  these  lines  are  incised  through  the  black  to  show 
the  red  clay  underneath,  as  in  the  case  of  many  small  black-figured 
lekythoi.  In  about  half  the  cases  the  foot  is  of  the  same  type  as  in 
the  first  series;  in  other  instances  it  may  be  a  simple  disk,  or  the  disk 
with  incision  at  the  top  which  later  became  typical. 


Conclusion  of  Class  Vll 

In  conclusion  it  should  be  noted  that  the  shape  of  all  the  lekythoi 
of  this  class  retains  many  reminiscences  of  the  earlier  small  black- 
figured  lekythoi.  The  body  retreats  from  the  shoulder  in  the  more 
careless  specimens  and  in  some  of  the  more  careful  ones;  the  junction 


3i8  ATHENIAN  WHITE   LEKYTHOI 

of  the  body  and  foot  lacks  the  "cushion"  which  had  become  general 
in  the  larger  lekythoi;  neck  and  shoulder  form  one  unbroken  line; 
and  the  mouth  is  of  the  shallow  type  (Fig.  i). 

Turning  to  the  scenes  represented,  scenes  consisting  almost  in- 
variably of  a  single  figure,  to  which  often  a  chair,  a  stele,  or  some  other 
object  is  added,  we  note  that  the  figure  is  generally  in  full  profile; 
occasionally  it  is  seen  en  face  with  the  head  in  profile;  the  three-quarters 
position  is  rare.  In  general  the  figures  are  women,  and  they  are 
dressed  in  sleeve  chiton  and  himation.  Often  the  hair  is  covered  with 
a  sakkos,  which  in  several  instances  is  adorned  with  small  crosses. 
The  bearded  man  occurs  but  a  few  times;  youths  are  either  naked,  or 
dressed  in  chlamys,  petasos,  and  shoes. 

One  large  series  of  scenes  and  types  of  figures  recalls  Class  III. 
The  seated  woman  (nos.  7,  26); 1  the  woman  or  youth  advancing  and 
looking  back  (no.  24;  series  i,  nos.  5,  6,  7);  the  woman  holding  up  a 
wreath  (nos.  28,  29,  37),  or  holding  a  flower  in  her  hand  (no.  13 ;  series  i, 
no.  15);  the  Bacchante  in  motion  (nos.  2,  3);  the  youth  leaning  on  his 
staff  (nos.  1 6,  17,  40);  the  Nike  (series  i,  nos.  5,  6);  the  altar  scenes 
(series  i,  nos.  8,9,  10),  —  all  these  belong  to  the  group  of  scenes  and 
types  characteristic  of  Class  III.  The  box,  perhaps  used  for  toilet 
articles  (no.  34)  and  the  mirror  (no.  la)  are  in  the  same  category. 
A  study  of  these  repetitions  of  the  same  objects  and  scenes  proves  that 
the  change  from  yellow  slip  to  white  slip  and  that  from  relief  lines 
to  thin  glaze  lines  affected  the  pottery  industry  less  than  the  dif- 
ference of  size  in  the  lekythoi;  the  vases  of  Class  VII  continued  the 
tradition  of  Class  III,  and  perhaps  were  made  in  the  same  shops 
where  those  vases  had  been  made. 

The  connection  with  Class  V  is  almost  as  noticeable,  but  it  is  to  be 
accounted  for  in  a  different  way.  It  has  been  pointed  out  that  the 
Charon  scenes  (nos.  10,  n,  12)  have  some  connection  with  the  same 
scene  in  Class  V;  the  type  of  "soul"  is  the  same  (nos.  10,  12);  the 
narrow  stele  in  front  of  a  tumulus  (nos.  17-36)  occurs  in  both  classes; 
the  taenia  (no.  26)  or  sakkos  (no.  43)  hanging  in  the  field,  the  vacant 
chair  (no.  2),  the  taenia  (nos.  36,  38)  or  basket  (no.  13)  brought  to  the 
stele,  are  found  in  both.  Not  to  mention  other  cases  of  likeness,  it  is 
clear  that  there  is  an  intimate  relation  between  the  classes,  a  relation 
that  may  best  be  explained  by  saying  that  from  time  to  time  the  maker 
of  the  small  lekythoi  copied  some  scene  or  some  detail  that  was  familiar 
to  him  from  such  large  lekythoi  as  are  included  under  Group  C.  On 

1  The  numbers  refer  to  series  2  except  where  otherwise  noted. 


CONCLUSION   OF   CLASS  VII  (GROUP  D)  319 

the  whole  it  would  seem  thatClass  VII  is  contemporaneous  with  Class  V, 
though  some  specimens  are  very  likely  later  than  any  included  under 
the  latter  class.  The  freedom  of  drawing  would  suggest  this  latter 
conclusion  in  certain  cases;  moreover,  such  a  tradition  as  is  illustrated 
by  the  present  class  would  be  slower  to  die  out  than  the  style  illustrated 
by  the  fine  vases  of  Group  C. 

Thirdly,  there  are  some  vases  in  the  present  class  which  represent 
either  the  adaptation  of  red-figured  types  to  outline  work  for  the  first 
time,  or  the  invention  of  entirely  new  scenes.  The  Asiatic  archer 
(series  I,  no.  4),  the  attack  on  the  serpent  (series  I,  no.  i),  the  sphinx 
(series  I,  no.  14,  series  2,  no.  15),  the  figure  of  Iris  in  a  short  garment 
(no.  6),  the  naked  boy  running  (nos.  32,  33),  the  youth  plunging  into 
a  pithos  (no.  8),  the  Bacchante  dancing  with  sleeves  covered,  or  with 
castanets  (nos.  2,  3),  tablets  carried  in  the  hand  (series  I,  no.  21),  the 
man  on  a  camel  (no.  5),  —  these  are  scenes  either  cut  out  from  scenes 
found  on  red-figured  ware,  or  adapted  from  such  prototypes.  The 
transfer  of  such  figures  involves  a  certain  degree  of  originality,  and  the 
modification  of  them  sometimes  found  involves  more.  A  few  scenes 
appear  to  be  entirely  new.  Such  is  the  scene  of  Hermes  evoking  and 
revoking  the  souls  (no.  9);  equally  striking,  and  occurring  very  often, 
is  the  more  or  less  literal  representation  of  the  relief  which  toward  the 
end  of  the  fifth  century  was  becoming  the  customary  ornament  of 
funeral  stelai  (nos.  26-31).  Some  suggestions  of  the  relief  on  the  stele 
(or  of  a  statue  as  grave  monument)  have  been  noted  under  Class  VI.1 
There,  however,  we  do  not  find  the  simple  realism  of  these  humbler 
painters.  Some  clue  to  the  lower  date  of  these  lekythoi  should  no 
doubt  be  drawn  from  the  depiction  of  grave  reliefs.  The  class  began 
about  the  time  a  really  white  slip  was  first  introduced,  i.e.  about  the 
same  time  as  Class  V;  apparently  Class  IV  came  to  a  rather  abrupt 
conclusion,  and  Class  III  gave  way  to  the  new  Class  VII  with  the  in- 
vention of  the  new  kind  of  slip.  This  date  can  hardly  be  later  than 
430  and  is  probably  nearer  the  middle  of  the  century.  The  funeral 
scenes  of  Class  VII,  however,  are  not  among  the  earlier  specimens  of 
the  class;  most  of  them  are  relatively  late  and  careless.  Inasmuch 
as  the  funeral  stele  was  not  ordinarily  adorned  with  sculpture  in  re- 
lief till  toward  the  end  of  the  fifth  century,  we  are  obliged  to  assume 
thatClass  VII  continued  up  to  the  end  of  the  century  and  possibly  later. 
A  second  deduction  from  the  new  scenes  has  already  been  suggested. 

1  C  VI,  i,  no.  2,  Brit.  Mus.  D  58  ;  no.  14,  Athens,  Nat.  Mu«.  1815  ;  no.  13,  Bonn,  Banner  Studitn, 
Taf.  x. 


320  ATHENIAN  WHITE   LEKYTHOI 

If  the  small  lekythoi  were  made  by  the  same  men  as  the  larger  fine 
lekythoi,  we  should  not  expect  any  inventiveness  at  all  on  these  small 
specimens.  There  are  enough  new  scenes  to  justify  the  belief  that  the 
makers  of  these  lekythoi  used  all  the  skill  and  all  the  inventiveness 
they  had  on  some  of  the  specimens  in  the  style  of  Class  VII;  in  other 
words,  this  is  a  style  that  stands  by  itself,  the  output  of  special  shops 
rather  than  a  side  product  of  the  painters  of  other  lekythoi. 

As  the  later  specimens  of  Group  D  are  presumably  later  than  any 
other  lekythoi  with  outline  drawing  in  glaze,  it  is  natural  that  these 
scenes,  the  presentation  of  a  taenia  or  a  basket  or  a  libation  at  the 
stele,  or  persons  mourning  at  the  stele,  should  be  the  scenes  which 
predominate  in  the  earlier  lekythoi  with  drawing  in  dull  color.  It  is 
on  the  second  group  of  these  later  lekythoi  that  the  little  figures  of  the 
"souls"  are  again  not  infrequently  seen.  The  demand  for  small  cheap 
lekythoi  did  not  cease  with  the  disappearance  of  the  present  group. 
Early  in  the  fourth  century  a  group  of  small  lekythoi  with  drawing 
in  a  fine  dark  red  begins  to  appear.  The  Charon  scene,  as  well  as  the 
scene  of  worship  at  the  grave,  is  found  in  that  class.  Apparently  it 
is  to  that  class  that  we  are  to  look  for  the  proper  successors  of  Group  D. 


CLASS  VIII.     Dull  color  used  with  the  glaze  (or  instead  of  the  glaze) 

for  the  drawing 

Class  VII  is  a  definitely  marked  group  within  which  there  is  little 
room  for  experiment;  parallel  with  it  we  may  place  another  group 
of  lekythoi  with  the  same  ornamentation,  the  product  often  of  the  same 
hands,  in  which  experiments  were  tried  in  the  use  of  dull  color.  The 
first  series,  where  the  drawing  is  still  in  glaze,  differs  very  little  from 
the  series  just  considered.  The  second  series,  with  the  scene  drawn  in 
dull  color,  includes  some  specimens  which  are  much  farther  from  the 
type  of  Class  VII. 


Series  I.    Drawing  in  glaze;   dull  color  is  used  for  some  accessory  or  for 

the  maeander 

i.    London,  Brit.  Mus.  D  34.     Athens.     H.  yf  in. 

Typical  ornament  of  Class  VII,  series  I  (the  maeander  below  the  scene  is  in  dull  red). 
The  chlamys  is  dark  purple  with  folds  in  black. 

An  ephebos  charges  to  the  right  with  couched  spear  and  left  arm  extended  under 


GROUP   D:   CLASS  VIII,  i,  1-5 


321 


his  chlamys;  he  wears  short  chiton  and  chlamys,  petasos  at  the  back  of  his  neck,  and 
boots  laced  high. 

The  scene  is  much  the  same  as  that  on  VII,  i,  no.  2  (Athens,  Nat. 
Mus.  1859),  except  that  the  youth  has  spear  instead  of  sword  and 
stands  a  little  more  erect. 

2.  Athens,    Nat.    Mus.   1990,    Cv.   1744.     Eretria.       H.  0.25    m. 
AeXrtoj/,  1889,  <r.  230,  25. 

Black  neck;   three  rude  palmettes  on  the  red  shoulder;    simple  maeander  above. 

A  woman  advances  toward  the  right  carrying  a  taenia  in  her  hand;  she  wears  a 
chiton  with  pink  lines  and  a  himation  of  darker  pink.  In  the  field  behind  hangs 
suspended  a  taenia. 

Although  the  drawing  is  in  glaze,  the  ornamentation  of  the  vase, 
as  well  as  the  use  of  two  shades  of  pink,  marks  it  as  an  experiment; 
at  the  same  time  the  scene  is  entirely  normal.1 

3.  Athens,  Nat.  Mus.   1905,  Cv.  1074.     Ceramicus.     H.  0.16  m. 
Ae\Tioi>,  1890,  cr.  34,  30. 

Shoulder  and  maeander  normal;    no  ornament  beneath  the  white  slip;    foot  simple. 

Stele  with  round  top  in  front  of  tumulus.     A  woman  approaches  the  grave;    she 

wears  a  chiton  and  a  himation  with  pink  edge  which  covers  both  shoulders  and  arms.2 

4.  Athens,  Private  Collection.     H.  0.245  m-     (Fig-  57-) 

Shoulder  and  maeander  typical;    foot  simple;    drawing  very  rude. 

A  very  broad  stele  with  triangular  top  (the  point  of  which  is 
omitted  because  of  lack  of  room)  on  three  steps.  Before  it  sits  a 
woman  on  a  rude  block,  holding  up  a  wreath  in  both  hands;  she 
wears  sleeve  chiton  and  himation;  the  chiton  is  a  dark  claret,  and 
parallel  lines  of  glaze  are  applied  on  the  claret. 

The  stele  or  tumulus,  it  is  not  clear  which  is  in 
the  mind  of  the  painter,  is  of  the  same  shape  as  on  a 
lekythos  in  Berlin;3  the  figure  is  also  the  same,  but 
it  is  even  more  hastily  drawn,  and  is  placed,  not  on  a 
block,  but  apparently  on  the  upper  step  of  the  plinth. 
The  shape  of  this  lekythos  varies  somewhat  in  the 
direction  of  the  type  usual  for  larger  lekythoi.  Like 
the  other  representations  of  a  relief  it  is  interesting 
solely  for  what  it  attempts  to  give;  the  work  is  un- 
usually rude. 

5.  Athens,  Nat.  Mus.  1779,  Cv.  1781.     Athens.     H. 
0.15  m. 


FIG.  57  (no.  4)- 

to  shoulder 


1  E{.  Class  VII,  i,  no.  7,  Athens,  Nat.  Mus.  1873  »  «""  »»  no-  38»  Athens,  Nat.  Mu».  1803. 
*  Cp.  VII,  2,  no.  13,  Karlsruhe,  136.  •  VII,  a,  no.  19,  Berlin. 

Y 


322  ATHENIAN  WHITE   LEKYTHOI 

« 

Neck  missing;  shoulder  and  maeander  typical;  foot  as  in  VII,  I;  the  white  slip  is 
now  quite  yellow. 

A  youth  clad  in  a  purple  himation  is  carrying  a  large  flat  basket. 

The  scene  is  evidently  an  abbreviation  of  the  common  representa- 
tion of  offerings  brought  to  the  grave.  Not  only  is  the  stele  omitted, 
an  omission  not  unusual  on  earlier  lekythoi  but  uncommon  in  this 
group,  but  curiously  the  basket  is  in  the  hands  of  a  youth  rather  than 
a  woman. 

6.  Coll.  Bammeville,  Froehn.  12.     H.  0.12  m. 

Shoulder  and  maeander  as  usual;  the  lines  of  the  drawing  are  said  to  be  thin  black 
glaze. 

"Une  femme  drapee,  coiffee  d'un  sakkos  a  lisere  rouge,  arrive  de  gauche  au  pas  de 
course.  Sa  main  droite  abaissee  tient  une  tenie  noire,  sur  la  main  gauche  elle  porte  un 
cofFret  a  toit  conique,  le  pyrgiskos,  et  plusieures  tenies  noires  et  rouges.  La  stele 
s'amincit  vers  le  sommet,  qui  est  couronne  d'une  palmette." 

This  vase,  known  to  me  only  from  the  above  description,  has  several 
peculiarities.  The  red  sakkos  is  found  in  Class  V,1  but  not  on  other 
vases  of  the  present  group;  the  variety  of  taeniae,  and  that  carried 
with  the  casket,  is  peculiar;  the  casket  with  conical  top  2  is  not,  I  be- 
lieve, found  on  other  white  lekythoi,  though  the  casket  of  square  shape 
is  common;  finally,  the  stele  with  palmette  is  not  to  be  expected  on  a 
small  lekythos  of  this  group. 

7.  Athens,  Nat.  Mus.   1782,  Cv.   1808.     H.  to  shoulder   0.15  m. 
Pettier,  Lecythes  blancs,  p.  146,  54. 

Neck  damaged.     Simple  maeander  above;    foot  simple. 

At  the  left,  stele  with  triangular  top  on  two  steps.  Before  it  a  woman  stands  holding 
out  a  taenia  toward  the  stele  in  one  hand;  she  wears  an  outline  chiton  and  a  purple  hima- 
tion. In  the  field  are  a  wreath  and  taenia  suspended. 

8.  Athens,  Private  Collection.     H.  0.235  m. 

On  the  red  shoulder  a  row  of  dots  and  four  rude  palmettes;  simple  maeander  above 
the  scene. 

At  the  right  a  stele  with  round  top  on  two  steps.  It  is  hung  with  taeniae  in  glaze  and 
in  vermilion.  Before  it  a  woman  stands  holding  out  a  flat  basket  from  which  hang  ver- 
milion taeniae  (the  taeniae  are  outlined  in  glaze);  she  wears  a  sleeve  chiton,  girded, 
which  is  ornamented  with  wavy  lines  of  thin  glaze.  In  the  field  behind  her  a  taenia 
hangs  suspended. 

The  use  of  red  and  black  taeniae  is  not  uncommon  in  Group  C, 
and  this  form  of  stele  with  round  top  also  occurs.  The  peculiarity  of 

1  C  V,  50,  Brit.  Mus.  D  57. 

2  Cp.   however  the   casket  carried  by  the   woman  at  the  right,  Laborde,  I,   pi.  xlviii,  Vienna,  Sacken- 
Kenner,  S.  160,  46. 


GROUP    D:   CLASS    VIII,   i,  6-10  323 

the  scene  consists  in  the  wavy  lines  used  to  indicate  the  material  of  the 
garment;  common  as  this  device  is  on  red-figured  ware,  this  is  the 
only  instance  of  it  known  to  me  on  outline  lekythoi.  The  variation 
in  the  shoulder  ornament  indicates  that  it  was  made  by  a  man  not 
bound  too  closely  by  convention. 

8a.  New  York,  Metrop.  Mus.  Vicinity  of  Athens.  H.  0.205  m. 
Amer.  Jour.  Arch.  II  (1886),  p.  398,  no.  9,  fig.  6. 

Ornament  typical;  the  slip  is  shiny  white.  The  scene  is  drawn  in  orange-brown 
glaze,  lighter  for  the  garment  folds  and  black  for  the  hair.  There  are  traces  of  a  dark 
pink  on  the  himation. 

At  the  right  a  low  block  marks  the  tomb.  A  woman  approaches  it  en  face  and  looks 
back.  On  her  left  arm  she  holds  over  the  block  a  flat  basket  containing  lekythos,  wreath, 
and  taeniae;  in  her  right  hand  she  carries  a  high  basket  or  box  (with  handle  like  a  pail) 
from  which  hang  taeniae.  Her  sleeve  chiton  is  ornamented  with  close  parallel  stripes; 
the  himation  shows  traces  of  color  on  the  upper  edge. 

9.  Athens,  Nat.  Mus.  2026,  Cv.   1015.     H.  0.225  m-     Benndorf, 
Griecb.  Sic.  Pas.Taf.  xix,  I. 

Shoulder  ornament  typical;  the  simple  maeander  is  in  red.  There  are  traces  of 
red  on  the  tops  of  the  stelai  and  on  the  breast  of  the  woman;  blue  is  also  used  between 
the  stelai  and  in  the  centre  of  the  base  of  each. 

A  woman  stands  en  face  between  two  stelai,  looking  toward  the  right  and  holding 
her  hand  toward  the  right  stele;  she  wears  sleeveless  chiton,  pulled  out  above  the  girdle. 
Each  stele  consists  of  a  slender  shaft  on  two  steps;  the  top  is  triangular  with  volutes  at 
each  side. 

This  lekythos  differs  from  others  in  the  group  both  in  the  use  of 
color  and  in  the  presence  of  two  stelai.  The  color  scheme  can  hardly 
be  understood,  probably  because  most  of  it  has  faded.  It  should  be 
noted  with  this  first  appearance  of  the  red  maeander  that  it  is  broken 
by  the  tops  of  the  stelai,  i.e.  it  was  put  on  after  the  stelai  had  been  drawn 
in  glaze.  The  presence  of  a  second  stele  is  to  be  regarded  as  a  freak; 
so  far  as  I  know,  it  does  not  occur  again. 

10.  Athens,  Private  Collection.     H.  0.165  m. 

Shoulder  ornament  typical;  maeander  in  a  reddish  brown;  for  the  scene  only  glaze 
outline  is  used;  foot  simple. 

At  the  left  is  a  stele  in  front  of  a  tumulus.  A  kneeling  woman  looks  at  the  grave 
and  tears  her  hair;  she  wears  sleeveless  chiton  girded  over  overfold. 

The  scene  on  this  lekythos  almost  exactly  reproduces  one  that  has 
already  been  considered  under  Class  VII.1  The  use  of  a  dull  red  paint 
for  the  maeander  is  a  curious  way  to  secure  variety  when  the  scene 
hardly  varies  in  a  line. 

1  CUM  VII,  2,  no.  1 8,  Athens,  Nat.  Mtu.  1780. 


324  ATHENIAN  WHITE  LEKYTHOI 

n.    Athens,  Private  Collection. 

There  are  no  bars  or  other  ornament  on  the  red  shoulder;    maeander  in  red-brown. 

At  the  right  a  slender  stele  with  triangular  top  stands  on  three  high  steps.  Before 
it  an  ephebos  stands  with  bowed  head,  his  back  to  the  stele;  he  wears  a  chlamys 
and  a  petasos  at  the  back  of  his  neck;  in  his  hand  is  a  spear. 

The  head  bowed  as  if  in  grief  or  meditation  has  already  been  noted 
as  a  characteristic  attitude  on  lekythoi  of  Class  VI.  In  all  the  classes 
considered  the  ephebos  standing  quietly  is  a  familiar  figure;  here 
variety  is  gained  by  drawing  him  with  his  back  to  the  stele.  The 
youth  or  woman  leaving  the  stele  but  turning  back  to  look  at  it  is  a 
common  figure,1  and  in  one  instance  under  Class  VII  a  youth  is  seen 
with  his  back  to  an  Ionic  pillar,  leaning  on  a  stick.2 

12.  Athens,  Private  Collection.     Attica.     H.  0.195  m- 

Both  the  bars  on  the  shoulder  and  the  maeander  are  in  reddish  brown.  Only  glaze 
outline  is  used  for  the  scene  itself. 

At  the  left  a  stele  stands  on  two  steps;  its  semicircular  top  is  adorned  with  a  rude 
palmette,  and  on  the  shaft  taeniae  are  fastened.  Before  it  a  warrior  stands,  seen  partly 
from  behind,  his  right  hand  on  his  hip,  his  left  hand  on  his  upright  spear.  He  wears 
a  high  helmet  and  over  his  left  arm  is  a  chlamys;  the  eye  is  very  carefully  drawn. 

A  stele  with  the  same  type  of  top  is  found  under  Class  VI.3  The 
attitude  of  this  warrior,  leaning  on  his  spear  and  resting  his  right  hand 
on  his  hip,  is  common  on  red-figured  ware  of  a  little  earlier  period; 
the  same  position  of  the  right  hand  has  been  noted  on  lekythoi  in  several 
classes.4 

13.  Munich,  Jahn,  224  (1529).     H.  0.22  m. 

Bars  on  the  shoulder  and  maeander  dull  red;  drawing  in  orange-yellow,  which  be- 
comes black  on  the  hair.  Rather  careful. 

At  the  right  on  a  plinth,  consisting  of  one  high  block  and  one  thin  block,  stands  a 
slender  shaft  crowned  with  scrolls  and  palmette.  A  woman  stands  before  the  stele, 
holding  out  both  hands  toward  it;  on  her  right  hand  is  a  smegmatotheke;  she  wears 
sleeve  chiton  and  himation. 

The  covered  toilet  vase,  or  smegmatotheke,  is  characteristic  of  the 
domestic  scenes  in  Group  B.  It  was  then  carried  over  to  scenes  at  the 
grave,  and  occurs  four  or  five  times  in  Group  C,  as  an  offering  at 
the  tumulus ;  it  may  be  noted  that  three  times  it  is  in  the  hands  of  a 
woman  who  holds  out  both  hands  toward  a  stele  crowned  with  scrolls 

1  E.g.  D  VII,  2,  no.  24,  Athens,  Nat.  Mus.  1781.       2  D  VII,  2,  no.  16,  Bologna,  Mus.  Civ.  354. 

8  Class  VI,  I,  no.  12,  Berlin,  Inven.  3245. 

4  Class  I,  I,  Naples,  2438  ;   Class  VII,  2,  no.  17,  Munich,  201. 


GROUP   D:   CLASS   VIII,  i,  11-14  325 

and  palmette,  though  on  lekythoi  with  glaze  outline  this  type  of  stele 
is  somewhat  unusual.1 

14.    Munich,  Jahn,  209  e. 

Shoulder  ornament  typical;  simple  maeander  in  dull  red;  the  white  slip  is  rather 
thick;  drawing  in  brownish  yellow  (not  orange)  glaze. 

At  the  right  on  two  steps  stands  a  rather  broad  shaft  crowned  with  egg  moulding, 
above  which  is  a  small  acroterion  (palmette  and  scrolls)  between  two  dotted  ovals.  A 
woman  approaching  it  holds  out  in  both  hands  a  large  flat  basket  on  which  may  he  seen 
a  lekythos  and  an  alabastron.  She  wears  a  sleeve  chiton  and  himation;  her  hair  is  in  a 
large  knot  at  the  back  of  her  head.  The  folds  of  the  garment  are  rather  stiff. 

This  vase  should  be  compared  with  one  already  considered  under 
Class  V,2  on  which  the  stele  is  similar  in  shape  and  has  a  somewhat 
similar  top;  one  of  the  figures  on  that  vase  is  presenting  a  flat  basket 
on  which  are  fruits  and  taeniae. 


The  lekythoi  of  Class  VIII  are  distinguished  by  the  fact  that  the 
outlines  of  the  main  scene  are  in  glaze,  while  either  (a)  dull  color  is  used 
for  garment  or  accessory,  or  (&)  dull  color  is  used  for  the  maeander 
above  the  scene.  This  change  in  the  paint  for  the  maeander  corresponds 
to  the  use  of  dull  color  for  the  shoulder  or  maeander  in  Class  VI ,  series  I ; 
except  for  the  ephebos  with  bowed  head  on  no.  1 1  there  is  little  except 
the  experiment  with  dull  color  to  connect  these  vases  (nos.  10-13)  witri 
the  series  in  Class  VI.  Twice  the  shoulder  ornament  is  in  dull  red 
(nos.  12,  13),  once  it  is  omitted  (no.  n),  twice  there  are  rude  palmettes 
instead  of  rows  of  bars  (nos.  2,  8);  the  lack  of  uniformity  is  in  contrast 
with  Class  VII,  and  especially  the  first  series  under  that  class.  The 
dull  color  used  for  the  maeander  is  a  reddish  brown;  this  same  color, 
or  what  is  now  a  more  purplish  brown,  is  several  times  used  for  gar- 
ments (e.g.  nos.  4,  5,  7);  once  the  fold-lines  are  added  in  dull  brown 
(no.  i),  once  in  glaze  (no.  4).  Pink  is  used  on  narrow  lines  on  the  edge 
of  a  garment  (nos.  2,  3),  vermilion  inside  a  glaze  outline  is  used  for 
taeniae  (nos.  6,  8),  and  once  there  are  traces  of  blue  on  the  stele  base 
(no.  9).  Of  all  these  colors  vermilion  is  the  only  one  that  is  commonly 
used  in  this  manner  on  earlier  lekythoi  with  drawing  in  dull  color. 
The  reddish  brown  common  here  is  an  ugly  substitute  for  glaze  outline; 
the  most  natural  explanation  for  its  occurrence  is  that  fashion  demanded 

1  C  V,  69,  Athens,  Nat.  Mus.  i8ai  ;  before  stele  with  scroll* and  palmette,  C  V,  17,  Berlin,  Inren. 
3383;  C  V,  44,  Berlin,  Inven.  3970;  C  VI,  i,  no.  aa,  Athens  Nat.  Mitt.  1843. 
*  C  V,  ao,  Athens,  Nat.  Mus.  1958. 


326  ATHENIAN  WHITE   LEKYTHOI 

the  use  of  a  dull  color,  and  the  makers  of  these  small  lekythoi  could  at 
first  furnish  nothing  better. 

Of  the  scenes  represented  on  the  lekythoi  of  this  class  only  one  is 
without  any  reference  to  the  grave;  the  predominance  of  grave  scenes 
of  a  somewhat  stereotyped  character  indicates  that  on  the  whole  this 
series  is  later  than  Class  VII.  On  nos.  2  and  5  there  is  no  stele,  but 
the  taenia  on  the  first  and  the  basket  on  the  second  bring  them  under 
the  category  of  "visits  to  the  grave."  In  general  the  grave  scenes 
belong  to  the  same  range  of  ideas  as  in  Class  VII.  Of  the  scenes  with 

o  o 

stele  and  tumulus,  no.  10  is  almost  a  duplicate  of  a  vase  in  Class  VII 
and  no.  3  contains  no  new  elements;  the  representation  of  a  relief  on 
the  stele  (no.  4)  is  of  the  same  type  as  the  relief  scenes  previously  con- 
sidered. The  taenia  held  out  toward  the  stele  (no.  7)  and  the  basket 
carried  toward  it  (nos.  5,  6,  8,  14),  as  well  as  the  taenia  suspended  in 
the  field,  repeat  material  already  familiar  in  Class  VII.  It  should  be 
noted,  however,  that  the  scenes  on  the  last  two  lekythoi  described 
(nos.  13,  14)  recall  Class  V  rather  than  Class  VII.  Further,  the  instinct 
for  variety  is  not  entirely  lacking.  The  two  stelai  on  no.  9  and  the 
figure  turning  his  back  to  the  stele  on  no.  n  illustrate  the  new  use  of 
old  material.  The  warrior  leaning  on  his  spear  (no.  12)  is  perhaps 
taken  over  from  vases  in  the  red-figured  technique,  and  certainly  the 
device  for  indicating  the  material  of  the  garment  by  thin  wavy  lines 
(no.  8)  is  derived  from  this  source. 

While  this  series  is  the  result  of  experiments  in  technique,  and  some 
changes  are  made  in  the  typical  scenes,  little  or  nothing  is  gained 
which  proved  of  permanent  value.  The  general  use  of  a  fine  dull  color 
for  the  drawing  made  an  end  of  the  use  of  glaze  for  outline  drawing. 


Series  2.    The  drawing  is  in  dull  color;  glaze  occasionally  used  for  the 

maeander 

The  following  series  also  is  in  a  sense  experimental,  though  here 
we  find,  not  a  series  of  varieties  soon  discarded,  but  rather  two  (or  three) 
definite  attempts  to  gain  success  in  the  use  of  a  dull  color.  The  larger 
number  of  these  lekythoi  are  drawn  in  a  dull  brown,  a  color  not  so 
unlike  the  glaze  that  was  found  in  Class  VII;  after  these  have  been 
described,  a  few  will  be  mentioned  that  are  drawn  in  a  dull  red,  a 
color  not  yet  clear,  but  more  successful  than  the  dull  reddish  brown 
used  for  the  garments  in  series  I. 


GROUP   D:   CLASS   VIII,  2,  1-2  327 

1.  Boston,  Mus.   7615.     H.  0.236  m.      Arch.  Anz.    1898,  S.  141. 
Plate  XIV,  i. 

On  the  shoulder  one  row  of  bars;  bars,  maeander, and  lines  enclosing  the  maeander 
are  all  in  dull  brown  like  the  scene;  slip  dull  white;  the  shape  of  the  mouth  and  foot  is 
approximately  that  which  prevailed  in  later  lekythoi.  Preliminary  sketch  with  a  dull 
point  in  the  soft  clay. 

An  ephebos  with  high  helmet,  shield,  and  spear  crouches  behind  a  tree;  his  sword  in 
its  scabbard  hangs  by  a  belt.  The  figure  is  drawn  with  much  care,  and  the  outline  of 
the  face  is  emphasized  because  it  is  seen  against  the  dark  background  of  the  inside  of 
the  shield.  The  tree  consists  of  several  branches  along  which  are  parallel  rows  of  leaves 
now  purplish.1 

2.  Paris,  Louvre,  85.     H.  about  0.22  m. 

On  the  shoulder  two  rows  of  black  bars;  maeander  simple;  drawn  in  dull  brown; 
slip  chalky  white.  More  careless  than  no.  I. 

An  ephebos  with  high  helmet,  shield,  and  spear  hastens  toward  the  right,  his  left 
foot  on  a  slight  elevation.  The  scene  is  very  like  that  on  no.  i  except  that  there  is  no 
tree,  and  the  face  of  the  youth  is  not  thrown  into  relief  against  the  dark  interior  of  the 
shield. 

Probably  the  first  of  these  two  vases  is  correctly  interpreted  as  an 
abbreviation  of  the  scene  so  common  on  black-figured  vases,  Achilles 
cowering  behind  a  tree  as  he  lies  in  wait  for  Troilos  at  the  spring.2 
On  several  of  the  vases,  as  well  as  on  later  red-figured  vases  with  the 
representation  of  Achilles  killing  Troilos  by  an  altar,  the  tree  forms  an 
essential  part  of  the  scene.3  If  this  be  the  correct  interpretation,  we 
have  on  this  vase  an  entirely  new  excerpt  from  a  scene  long  familiar  in 
vase  painting,  and  that  too  taken,  so  far  as  I  am  aware,  from  black- 
figured  rather  than  from  red-figured  ware.  The  use  of  a  colored  object, 
here  the  dark  interior  of  the  shield,  to  form  a  background  for  the  out- 
line of  the  face  cannot  be  regarded  as  accidental.  It  occurs  occasion- 
ally on  later  outline  lekythoi  *  and  is  easily  explained  when  one  recalls 
that  on  red-figured  ware  the  face  always  had  this  dark  setting.  The 
crouching  figure,  ready  to  spring  forward  at  a  moment's  notice,  is  not 
easily  paralleled.  The  same  curve  of  the  shoulder,  exaggerated  to 
make  its  meaning  clear,  is  seen  in  the  case  of  wrestlers,5  and  occasion- 
ally when  men  are  dancing.  From  this  position  to  the  attitude  of 
charging  in  battle  6  the  transition  is  slight. 

1  These  purplish  leaves  are  seen  on  a  vase  assigned  to  a  later  class,  Berlin,  Inven.  3138. 

2  Cyrenaic  ware,  Louvre,  Arch.  Zeit.   1881,  Taf.  xi,  i  ;  early  black-figured  ware,   Anna/i,  1850,  Tar. 
EF  I,   1866,  Tav.  R;    Arch.  Zeit.   1863,  Taf.  174;   late  black-figured   ware,  e.g.  Brit.    Mus.  B  314,   Ger- 
hard, Aut.  faten.  Taf.  92.  *  Gerhard,  Aus.  Paten.  Taf.  214-225. 

*  E.g.  Athens,  Nat.  Mus.  1755.  *  E.g.  Gerhard,  Aut.  faita.  Taf.  54,  70.5,  113. 

•  Cp.  Man.  hit.  II,  Tav.  xi  (int.),  tav.  xiii  ;    VIII,  tav.  xliv  ;   IX,  tav.   ri. 


328  ATHENIAN  WHITE   LEKYTHOI 

The  vase  in  Paris  which  exhibits  almost  the  same  figure  with  only 
the  change  in  position  of  the  left  leg,  may  well  have  come  from  the  same 
hand.  The  omission  of  the  tree  deprives  the  scene  of  its  specific 
meaning,  and  it  becomes  a  warrior  charging  or  preparing  to  charge. 
This  change  of  the  same  scene  from  a  particular  to  a  general  mean- 
ing is  what  may  be  expected  when  a  distinctive  figure  in  its  own 
setting  has  been  transferred  for  the  first  time  to  a  new  style  of  paint- 
ing; especially  on  these  small  lekythoi  the  tendency  is  toward  the  most 
general  sort  of  scene. 

3.  Munich  (1583).     H.  0.16  m. 

Both  the  shoulder  ornament  and  the  maeander  have  disappeared;  drawn  in  dull 
brown. 

A  woman  wearing  chiton  and  himation  moves  toward  the  left  and  looks  back.  Very 
careless.1 

4.  Bologna,  Mus.  Civ.  350.     H.  about  0.14  m. 

Bars  on  the  shoulder  as  usual.     The  drawing  is  in  a  dull  gray. 
A  woman  advances  carrying  a  thyrsos.2 

5.  Naples,  Heyd.  2431.     Ruvo.     H.  0.18  m. 

Shape  rather  slender;  shoulder  ornament  and  maeander  as  usual;  drawn  in  thin 
yellow  brown  on  a  chalky  white  surface. 

At  the  left  is  a  slender  square  pillar,  drawn  in  perspective,  on  top  of  which  is  a  yellow 
flame.  Facing  the  altar  a  youth  with  chlamys  about  his  left  arm  (otherwise  naked)  leans 
his  left  elbow  on  a  low  pillar  and  holds  a  flat  basket  of  cakes  or  fruits  over  the  altar;  his 
legs  are  crossed. 

The  figure  of  a  youth  in  this  same  attitude  occurs  on  a  krater  in 
Vienna3  which,  so  far  as  one  may  judge  from  the  publication,  seems 
to  belong  to  the  fifth  century.  Occasionally,  also,  one  finds  some  at- 
tempt to  depict  a  pillar  in  perspective.4  At  the  same  time  the  attitude, 
this  type  of  pillar  used  as  an  altar,  and  the  plate  of  cakes  or  fruits  held 
over  the  altar,  all  suggest  the  South  Italian  ware  of  a  much  later  period.5 
It  seems  to  me  to  be  by  no  means  improbable  that  this  lekythos  was  a 
late  imitation,  made  in  Italy,  of  an  early  ware  which  was  not  commonly 
exported  outside  of  Attica.  That  the  Italian  potters  made  some 
experiments  in  imitation  of  ware  with  outline  drawing  on  a  white  slip 
has  already  been  suggested.8 

1  Cp.  D  VII,  2,  no.  la.  2  Cp.  D  VII  2,  nos.  2  and  3. 

8  Vienna,  Sacken-Kenner,  S.  230  (173),  Laborde,  Pases  grccs,  I,  pi.  vii. 

*  On  the  vase  just  cited;  cp.  the  earlier  type  of  pillar  in  perspective,  Gerhard,  Aus.   fasen.  Taf.  276,  I. 

5  E.g.  Vienna,  Sacken-Kenner,  p.  169  (3)  ;   Brit.  Mus.  Cat.  faxes,  IV,  altar,  pi.  ix,  attitude,  pi.  xii. 

6  Supra,  p.  72,  78. 


GROUP    D:   CLASS    VIII,  2,  3-7  329 

6.  London,   Brit.   Mus.  D   35.     Athens.     H.  ;|  in.     Stackelberg, 
Die    Graber   der  Hellenen,  Taf.    xxxviii;     Panofka,    Griechinnen   und 
Griechen,  S.  12,  Taf.  i,  16. 

Shoulder  ornament  typical;  above  the  scene  a  zigzag  ornament  in  dull  brown  takes 
the  place  of  the  maeander;  the  scene  is  drawn  in  a  dull  brown  varying  to  black. 

A  broad  tumulus  rests  on  a  single  plinth,  and  on  top  of  the  tumulus  hang  two  taeniae. 
As  if  within  the  tumulus  the  figure  of  a  dead  person  is  drawn,  entirely  draped,  his  head 
supported  by  pillows:  the  eye  is  drawn  without  the  lower  lid  to  indicate  that  it  is  closed. 

7.  Athens,  Nat.  Mus.  1886,  Cv.  1055.     H.  0.16  m. 

The  maeander  is  in  glaze,  the  rest  of  the  drawing  in  dull  brown.     Foot  simple. 
Inside  a  tumulus,  from  the  top  of  which  hang  several  taeniae,  lies  a  dead  person,  his 
head  supported  by  a  pillow.     Drawing  very  careless.1 

The  editor  of  the  British  Museum  Catalogue  compares  three  other 
vases  with  no.  6  in  support  of  the  interpretation  above  given.  One  of 
these  2  has  already  been  treated;  while  the  figure  outlined  against  the 
tumulus  is  intended  for  the  dead  person,  it  is  not  a  picture  of  the  inside 
of  the  tomb  with  the  corpse  in  an  erect  position,  but  rather  a  picture 
of  the  relief  representing  the  dead  which  was  placed  on  the  stele.3 
It  seems  to  me  possible  that  the  Glaukos-Polyeidos  vase 4  should  be 
interpreted  as  a  relief  representing  the  dead  and  placed  on  a  grave 
monument,  or  the  so-called  tumulus  may  be  nothing  more  or  less  than 
the  hollow  interior  of  the  tomb  in  which  Polyeidos  was  confined. 
The  third  vase  in  question5  is  a  lekythos  belonging  under  Class  VI; 
the  vessels  ranged  on  the  plinth  may  be  thought  of  as  actually  exposed 
on  the  steps  outside,6  or  it  may  be  a  device  of  the  painter  to  indicate  the 
vessels  actually  placed  about  the  dead  person  inside  the  tomb.  In 
spite  of  doubts  which  may  be  cast  on  this  interpretation  (namely,  that 
the  painter  intended  to  depict  the  interior  of  the  tomb)  in  each  of  the 
other  instances,  I  feel  that  in  this  instance  there  can  be  no  doubt  that 
such  was  his  meaning.  The  tumulus  with  taeniae  on  the  outside  was 
a  familiar  type;  inside  it,  with  unusual  literalness,  the  dead  person  is 
depicted.  And  in  his  conception  of  the  dead  the  maker  of  these  leky- 
thoi  has  not  found  it  necessary  to  invent  any  new  type.  On  the  prothe- 
sis  vases  from  a  much  earlier  epoch  the  dead  person  was  drawn  as  lying 
in  state  on  a  high  couch,  his  body  closely  wrapped  in  its  vestments, 

1  A  comparison  of  this  scene  with  that  on  no.  6  renders  inadmissible  the  suggestion  of  M.  Couve  that 
this  scene  represents  "  un  navire  (?)."  a  D  VII,  i,  no.  15,  Athens,  Nat.  Mus.  1876. 

»  Cp.  D  VII,  2,  no.  16-30.  «  Brit.  Mus.  D  5,  Witt  Atk.  f^atet,  pi.  xri. 

•  C  VI,  2,  no.   12,  Brit.  Mus.  D  56,  White  Attic*,  fatei,  pi.  xiii. 

•  As  t.g.  CV,  22,  Athens,  Nat.  Mus.  1935. 


330  ATHENIAN  WHITE   LEKYTHOI 

his  head  supported  by  a  pillow.1    This  long  familiar  figure  is  simply 
removed  from  the  couch  of  state,  pillow  and  all,  to  be  placed  in  the 
same  position  inside  the  tumulus. 
8.    Munich,  Jahn,  225.     H.  0.205  m. 

Shoulder  ornament  typical;  maeander  and  lines  of  the  scene  in  dull  black;  slip  thin, 
carelessly  applied. 

At  the  right  a  slender  stele  stands  on  a  single  block;  from  the  top  extends  a  large 
bunch  of  acanthus  leaves.  Before  it  a  youth  stands,  resting  his  left  arm  on  his  left  leg 
which  is  supported  by  a  square  block;  his  right  hand  is  raised  to  his  head  as  if  tearing 
his  hair;  he  wears  chlamys,  petasos  at  the  back  of  his  neck,  and  boots  laced  high;  the 
hair  falls  in  curls  to  his  shoulder. 

The  use  of  the  acanthus  at  the  base  or  the  top  of  stelai  depicted 
on  vases  is  characteristic  of  one  class  of  lekythoi  with  drawing  in  dull 
color,  and  that  by  no  means  the  earliest  class.  This  vase  might  be 
regarded  as  a  late  imitation  of  the  style  of  Class  D,  in  which  case 
neither  the  acanthus  nor  the  unusual  attitude  need  create  surprise;  or 
it  may  belong  to  the  period  early  in  the  fourth  century  when  this  style 
of  ware  (lekythoi  with  white  slip)  was  falling  out  of  use.  In  either 
case  the  only  feature  of  the  scene  itself  which  should  be  compared 
with  other  specimens  of  this  class  is  the  gesture  of  grief,  the 
hand  raised  to  the  back  of  the  head  as  if  tearing  the  hair.  Although 
such  gestures  of  grief  are  not  very  common,  they  occur  in  several 
classes  both  in  a  literal  and  a  more  stereotyped  form.2  The  easy, 
almost  affected,  attitude  of  the  youth  with  his  foot  raised  on  a  block 
and  left  arm  resting  on  his  knee  repeats  a  type  sometimes  referred  to 
Lysippus;  though  its  occurrence  in  painting  should  be  looked  for 
much  earlier  than  in  sculpture,  it  is  not  an  attitude  found  on  the 
earlier  lekythoi  with  outline  drawing. 

9.  London,  Brit.  Mus.  D  39.     H.  7  in. 

Shoulder  ornament  typical;  broken  maeander  and  lines  of  the  scene  in  dull  brown; 
slip  carelessly  applied;  a  thin  wash  of  red  (?)  was  applied  to  the  garment. 

At  the  right  a  slender  stele  with  low  pediment  stands  on  three  steps;  around  it  are 
draped  two  purple  and  one  red  taeniae.  A  youth  en  face  leans  on  his  staff  and  raises 
his  right  hand  to  the  forehead  as  if  in  grief  as  he  looks  at  the  stele.  He  wears  a  himation. 

10.  London,  South  Kensington  Mus.  2864,  53.     H.  9  in. 

Shoulder  ornament  typical;  maeander  and  lines  of  the  scene  in  a  much  faded  dull 
color. 

1  Man.  last.  VIII,  tav.  Ix  ;  VIII,  tav.  iv.     Cp.  the  prothesis  scenes  on  white  lekythoi   with  outlines 
drawn  in  dull  color,  e.g.  Brit.  Mus.  D  6z,  White  Ath.    Vases,  pi.  vii. 

2  Literal,  A  III,  59,   Athens,    Private  Collection;   stereotyped,  C  VI,  I,   no.  15,  Athens,  Nat.  Mus. 
1993,  and  no.  17,  Bologna,  Mus.  Civ.  368.      It  is  fairly  common  in  the  earliest  class  of  lekythoi  with  outline 
drawn  in  dull  color. 


GROUP  D:  CLASS  VIII,  2,  8-14  331 

At  the  right  is  a  slender  stele  with  low  pediment  on  two  steps;  near  the  base  is  a  taenia 
once  black.  A  bearded  man  leans  forward  on  a  stick  which  supports  his  himation  under 
his  left  arm;  he  extends  his  hands  toward  the  stele,  one  above  the  other,  as  if  he  were 
holding  a  wreath  or  cord.  Between  the  man  and  the  stele  hangs  some  object  not  clearly 
distinguishable. 

This  familiar  attitude  has  been  mentioned  in  connection  with  each 
class  of  lekythoi  discussed;  the  presentation  of  a  wreath  at  the  stele 
was  a  scene  the  more  natural  for  the  lekythos  painter  because  the 
wreath  plays  a  large  part  in  toilet  scenes  as  represented  on  lekythoi. 

11*.    Munich,  Jahn,  202.     H.  to  shoulder,  0.20  m. 

Shoulder  ornament  typical;  maeander  simple,  in  yellow  glaze;  foot  of  later  type. 
Drawing  in  fine  lines  of  a  bright  yellow  thick  paint;  much  injured. 

At  the  right  are  traces  of  a  slender  stele  on  two  steps  with  acroterion.  Before  it  a 
man  leans  forward  as  if  supported  by  a  staff  under  his  left  arm;  the  left  leg  is  no  longer 
visible,  but  beneath  the  body  appears  a  conical  object;  he  extends  his  right  hand  as  if 
touching  the  stele. 

The  free  and  delicate  treatment  of  the  folds  distinguishes  this  vase 
from  others  in  the  present  class;  were  it  not  that  several  of  these  leky- 
thoi seem  to  be  experiments  by  men  accustomed  to  work  on  other  types 
of  pottery,  there  might  be  some  doubt  as  to  its  genuineness.  Jahn's 
suggestions  that  the  figure  rests  his  left  foot  on  the  conical  object  and 
that  the  object  has  some  connection  with  a  stele  seem  equally  far 
astray;  nor  does  Jahn  mention  the  faint  traces  of  a  stele  at  the  right. 

12.  Athens,  Nat.  Mus.  1863  (Coll.  647),  Cv.  1774.     H.  0.21  m. 

Careful  maeander  and  scene  drawn  in  brown  dull  paint;  slip  yellowish. 

At  the  right  a  slender  stele  with  two  volutes  rests  on  three  steps.  A  youth  approaches 
and  looks  at  the  stele,  extending  his  left  hand  toward  it,  his  right  hand  away.  He  wears 
a  himation. 

13.  Athens,   Nat.  Mus.  2029,  Cv.   1058.       H.  0.24  m.       Pettier, 
Lecythes  blancs,  p.   144,  41. 

Simple  maeander;   drawn  in  dull  brown. 

At  the  left  is  a  stele  like  that  on  the  last  specimen.  A  youth  in  ample  himation  extends 
both  hands  toward  the  stele  as  though  offering  a  taenia.  In  the  field  above  is  a  wreath. 

14.  Athens,  Nat.  Mus.  2031,  Cv.  1057.     H.  0.23  m. 

Simple  maeander;    drawn  in  dull  brown  on  a  slightly  yellowish  slip. 

At  the  right  is  a  rather  broad  stele  on  three  steps,  crowned  with  pediment  in  which  is 
indication  of  a  palmette.  A  woman  approaches  holding  out  a  purse  (oralabastron  with 
cord)  toward  the  stele.  She  wears  chiton  and  himation,  and  her  hair  is  held  up  by  a  cloth 
behind. 


332  ATHENIAN  WHITE   LEKYTHOI 

The  figure  of  the  woman  in  this  attire  is  one  of  the  commonest  types 
on  lekythoi  of  this  group,  but  the  stele  is  of  an  unusual  shape.  Inas- 
much as  the  nearest  analogies  are  found  on  fairly  early  vases  of  Class  V,1 
it  may  be  argued  that  this  vase  and  consequently  the  type  of  woman 
represented  on  it  belong  early  in  the  second  half  of  the  fifth  century 
B.C.,  or  in  more  general  terms  that  vases  of  Group  D  begin  to  appear 
about  as  early  as  vases  of  Group  C. 

15.  Athens,  Nat.  Mus.  1868  (Coll.  654),  Cv.  1725.     H.  0.16  m. 

Ornament  typical;    drawn  carelessly  in  dull  brown. 

A  woman  carrying  a  basket  from  which  hang  taeniae  moves  away  from  a  stele; 
she  wears  a  sleeveless  chiton. 

16.  Athens,  Nat.  Mus.  1880.   (Coll.  648),  Cv.  1724.     H.  0.155  m- 

Ornament  typical;    carelessly  drawn  in  dull  brown. 

The  stele  is  a  simple  pillar  marked  with  perpendicular  lines  which  may  indicate 
fluting;  on  it  is  tied  a  taenia.  Before  it  kneels  a  figure  with  one  hand  extended. 

A  similar  kneeling  figure  occurs  on  another  vase  of  this  group;2 
the  recurrence  of  the  figure  on  lekythoi  of  the  earliest  class  with  draw- 
ing in  dull  color  helps  to  date  the  present  class.3 

17.  Athens,  Nat.  Mus.  1794  (Col.  655),  Cv.  1033.     H.  0.21  m. 

Ornament  typical;   maeander  broken;    slip  yellowish;    drawn  hastily  in  dull  brown. 
Stele  with  pediment.     At  the  left  a  woman  brings  to  it  a  shallow  basket  containing 
three  fruits;   she  wears  a  sleeve  chiton  with  fold  over  girdle. 

18.  St.  Johnsbury,  Vt,  Private  Collection.     H.  0.19  m. 

At  the  left  is  a  slender  stele  with  simple  projecting  pediment.  A  woman  approaches 
it  holding  out  a  flat  basket  with  fruit  or  bread.  She  wears  a  sleeve  chiton. 

19.  Athens,  Private  Collection.     Athens.     H.  0.233  m- 

Ornament  typical,  the  simple  maeander  in  glaze;  painted  in  dull  brown,  and  solid 
brown  for  the  himation. 

At  the  left  a  slender  stele  with  taenia,  surmounted  by  a  moulding  and  low  pediment 
(cp.  the  stele  on  nos.  9  and  10  above),  rests  on  three  steps.  A  woman  approaches,  carry- 
ing on  her  left  arm  a  wide  basket  which  contains  lekythoi  and  alabastron,  and  with 
her  right  hand  touching  the  stele.  She  wears  sleeve  chiton  and  himation;  her  hair  is 
bound  with  a  stephane. 

20.  Athens,  Private  Collection.     H.  0.202  m. 

Ornament  typical;  painted  in  dull  brown  with  a  violet  wash  along  the  edge  of  the 
himation  and  on  the  taeniae. 

1  C  V,  20,  Athens,  Nat.  Mus.  1958  ;  cp.  22,  Athens,  Nat.  Mus.  1035. 

2  D  VII,  2,  18,  Athens,  Nat.  Mus.  1780. 

8  Athens,  Nat.  Mus.  1934;   Karlsruhe,  Winnefeld,  233. 


GROUP    D:   CLASS  VIII,  2,   15-25  333 

At  the  left  is  a  stele  surmounted  by  wide  scrolls  and  small  palmette.  A  woman  stands 
before  the  stele,  holding  out  her  right  hand,  palm  down,  toward  it,  and  carrying  on  her 
left  arm  a  flat  basket  from  which  hang  brown  and  violet  taeniae.  She  wears  a  himation 
over  a  sleeve  chiton. 

The  use  of  a  violet  wash  is  common  on  that  class  of  lekythoi  with 
drawing  in  dull  color  in  which  the  acanthus  is  first  used  on  the  stele; 
the  gesture  also  is  found  on  lekythoi  with  drawing  in  dull  color  under 
one  of  the  later  classes. 

21.  London,  Brit.  Mus.  D  45.     Rhodes.     H.  9  in. 

Ornament  typical;  maeander  and  scene  drawn  in  dull  brown;  taeniae  in  brown  and 
red  (solid);  the  hair  is  stippled  brown  on  white. 

At  the  left  is  a  slender  stele  with  two  taeniae.  Before  it  stands  a  woman,  carrying 
on  her  left  arm  a  basket  from  which  hang  red  and  brown  taeniae;  with  her  right  hand 
she  strikes  her  forehead  in  a  gesture  of  grief.  She  wears  a  long  chiton  girded. 

The  treatment  of  the  hair  corresponds  with  that  on  lekythoi  of 
Class  V,  e;  for  the  gesture  of  grief  compare  no.  8  of  the  present  series. 

22.  London,  Brit.  Mus.  D  44.     Kameiros.     H.  6  in. 

Shoulder  ornament  typical;  abbreviated  maeander  and  scene  drawn  in  a  dull  yellow- 
brown. 

At  the  left  a  stele  with  large  triangular  pediment  on  one  step  (compare  no.  15  above). 
A  man  moves  away  from  the  tomb  and  looks  back,  extending  his  hands  in  both  directions. 

23.  Athens,  Nat.  Mus.  1889  (Coll.  645),  Cv.  1054.     H.  0.23  m. 

Shoulder  ornament  typical;  broken  maeander  and  scene  drawn  in  dull  brown. 
The  vase  shows  evident  traces  of  fire. 

At  the  right  is  a  stele  with  rounded  top,  resting  on  two  steps.  A  woman  stands  en 
face,  looking  away  from  the  stele  and  extending  her  right  hand,  palm  down,  in  the  same 
direction.  She  wears  sleeve  chiton  and  a  himation  which  covers  the  left  arm. 

24.  Athens,   Nat.    Mus.    1864,   Cv.    1832.     H.    0.24   m.     Pettier, 
Lecythes  blancs,  p.   152,  80. 

Ornament  typical;   drawn  in  fine  lines  of  thick  brown;    rather  careful  work. 

At  the  right  is  a  slender  stele  with  projecting  pediment,  resting  on  a  high  step.  A 
youth  approaches  the  stele  and  looks  away,  extending  his  right  hand  (palm  down)  in  the 
same  direction.  A  himation  covers  his  left  arm.  The  curls  of  his  hair  fall  to  the  shoul- 
ders. 

25.  Athens,  Nat.  Mus.  1866  (Coll.  676),  Cv.  1804.     H.  0.235  m. 

Ornament  and  drawing  like  the  preceding. 

At  the  right  is  a  slender  stele  of  the  same  type  as  on  the  preceding  vase.  A  woman 
tn  face  rapidly  approaches  the  stele  and  looks  at  its  base;  on  her  left  arm  is  a  basket, 
the  right  arm  falls  free  at  her  side.  She  wears  chiton  with  full  sleeves,  and  a  himation 
along  the  edge  of  which  is  a  violet  stripe;  her  hair  is  in  a  cloth,  with  a  stephane  in  front. 


334  ATHENIAN  WHITE   LEKYTHOI 

The  last  three  lekythoi  are  drawn  in  much  the  same  style,  perhaps 
come  from  the  same  hand.  The  unusual  care,  the  leaning  figures  and 
distinctive  type  of  stele  of  the  two  latter,  and  the  similarity  of  the 
drawing  separate  them  from  other  vases  of  this  class.1 

26.  New  York,  Metrop.  Mus.     H.  0.167  m-     Am.  Jour.  Arch.  II 
(1886),  p.  398,  8.  fig.  i. 

Shoulder  ornament  typical;  simple  maeander  in  black;  scene  drawn  in  reddish 
brown  outline  on  a  light  yellow  slip;  taeniae  and  stripes  in  dull  purple. 

At  the  left  is  a  pointed  stele  on  two  steps;  taeniae  hang  from  it.  At  the  right,  turning 
away  from  the  stele,  sits  a  woman  in  profile  holding  out  a  large  lekythos  (drawn  in  outline) 
in  her  right  hand.  She  wears  sleeve  chiton  and  himation. 

27.  Athens,  Private  collection. 

Ornament  typical;    drawn  in  a  red-brown. 
A  youth  sits  on  a  diphros  holding  a  lyre. 

28.  Athens,  Nat.  Mus.    1862,   Cv.    1800.     H.    0.235   m-  Pettier. 
Lecythes  blancs,  151,  79. 

Bars  on  shoulder  and  broken  maeander  as  well  as  the  lines  of  the  scene  in  red-brown 
thick  paint;  garment  in  brighter  red. 

A  youth  wearing  a  himation  approaches  a  high  rounded  grave  tumulus  and  adjusts 
a  taenia  on  it. 

29.  Munich,  Jahn,  200  (1586). 

Both  the  maeander  and  enclosing  lines  are  missing;    drawn  in  thick  dark  red  paint. 
At  the  right  a  stele  with  round  top,  about  which  is  tied  a  taenia.    A  figure  wearing  a 
himation  is  in  the  act  of  placing  a  wreath  on  the  top  of  the  stele. 

30.  Bologna,  Mus.  Civ.  Pell.  361. 

Ornament  typical;   drawn  in  red-brown. 

A  woman  with  bowed  head  advances,  carrying  a  taenia  in  her  left  hand  and  holding 
out  her  right  hand  before  her;  she  wears  a  sleeveless  chiton. 

31.  Munich,  2oga.     H.  0.19  m. 

Shoulder  ornament  typical;  maeander  and  scene  drawn  in  thick  red  paint;  taenia 
in  darker  red. 

At  the  right  on  two  steps  stands  a  broad  stele;  above  a  moulding  is  a  high  pediment 
with  horns  on  each  side;  taeniae  hang  from  the  stele,  and  in  the  field  beside  it  a  taenia 
and  wreath  hang  in  the  field.  A  woman  approaches  from  the  left,  holding  out  a  taenia 
in  both  hands.  She  wears  a  sleeve  chiton  ornamented  with  coarse  parallel  stripes  and 
a  himation  with  row  of  dots  along  the  edge. 

32.  Munich,  2OQb.     H.  0.23  m. 

1  Compare  the  stele  on  number  18;  for  the  hair  on  number  24  cp.  Berlin,  Furtw.  2459,  a  lekythos  of 
the  second  class  with  drawing  in  dull  color. 


GROUP   D  :   CLASS   VIII,  2,  26-32  335 

Shoulder  ornament  typical;  the  broken  maeander  and  the  scene  are  drawn  in  a 
thick  red  paint;  taeniae  in  darker  red.  A  dotted  band  ornaments  the  edge  of  the 
himation. 

At  the  right  on  two  steps  stands  a  broad  stele;  above  a  moulding  at  the  top  is  a  high 
triangular  pediment  with  horns  on  each  side;  several  taeniae  (in  two  shades  of  red) 
hang  from  the  stele,  and  beside  it  a  wreath  and  draped  taenia  hang  in  the  field.  At  the 
left  a  youth  en  face  stands  looking  at  the  stele;  his  left  hand  is  extended  toward  the  stele, 
and  in  his  right  hand  behind  him  he  holds  a  taenia. 

This  general  type  of  stele  has  been  mentioned  in  connection  with 
nos.  14  and  22  above;  the  broad  shaft  is  common  enough  in  some 
classes  of  later  outline  lekythoi,  but  in  those  instances  the  pediment 
is  quite  different.1  Probably  these  two  lekythoi  are  among  the  latest 
of  those  which  have  this  type  of  ornamentation,  and  represent  an  un- 
successful experiment  by  potters  who  have  been  making  small  lekythoi 
of  the  present  series. 


In  technique  and  decoration  the  lekythoi  of  this  series  show  several 
slight  variations  from  the  remainder  of  the  group;  the  slip  is  not  so 
shiny  and  often  is  rather  yellowish;  several  times  the  maeander  is 
broken;  the  shoulder  ornament  and  the  maeander  are  rarely  in  glaze, 
commonly  in  dull  red  or  brown.  As  for  the  drawing  of  the  main  scene, 
several  experiments  are  tried,  none  of  them  wholly  successful.  A  dull 
brown,  very  like  the  glaze  brown  of  Group  C,  is  used  on  most  of  the 
vases;  sometimes  it  is  applied  in  coarse  lines  of  rather  thin  color  (yellow- 
ish) like  the  glaze  lines  of  vases  of  Class  VII,  or  again  it  is  put  on  with 
a  fine  brush  heavily  charged,  as  on  nos.  1-3  and  23-25.  The  thick 
red  in  rather  coarse  lines  on  the  lekythoi  discussed  last  represents  a 
different  and  less  successful  experiment.  As  for  the  scene  itself,  a 
stereotyped  figure  by  the  grave  stele  is  commonly  found,  as  in  the 
preceding  series  of  this  group.  There  are,  however,  a  number  of 
variations  such  as  might  be  expected  in  an  experimental  series.  The 
Achilles  advancing  on  nos.  I  and  2,  and  the  dead  person  inside  the 
tumulus  on  nos.  6  and  7,  are  entirely  new  on  lekythoi.  The  kneeling 
figure  of  no.  16,  the  hand  raised  to  the  head  in  grief  on  nos.  8,  9,  and 
21,  the  person  bending  over  toward  the  stele  as  he  looks  away  on 
nos.  23  and  24  (cf.  no.  25),  are  not  types  found  on  lekythoi  with  glaze 
outlines.  On  the  other  hand,  the  woman  advancing  with  hands  ex- 
tended in  both  directions  (nos.  3,  12,  22),  the  woman  presenting  a 
basket  of  taeniae  or  other  offering  at  the  grave  (nos.  13-15,  17-21),  the 

1  Cp.  a  later  clan  of  lekythoi  with  outline  drawing  in  dull  color,  e.g.  Athens,  Nat.  Mui.  1013. 


336  ATHENIAN  WHITE    LEKYTHOI 

youth  leaning  forward  on  his  staff  (nos.  10  and  n),  are  extremely 
common  types.  In  general  the  figures  are  standing  either  in  full 
profile  or  in  full  front  view;  the  men  wear  a  himation,  the  women  a 
chiton  with  full  sleeves  under  a  himation;  solid  color  or  stripes  of  color 
are  rarely  used  for  the  garments. 

In  the  course  of  the  discussion  it  has  become  apparent  that  these 
lekythoi  have  connections  with  those  in  other  classes  of  widely  different 
periods.  Not  only  the  shape  and  decoration,  but  some  of  the  scenes 
also  (e.g.  the  advancing  figure  on  nos.  3  and  4),  still  call  to  mind  the 
small  lekythoi  of  Class  III.  The  woman  carrying  a  basket  of  taeniae 
to  the  grave  is  a  typical  scene  of  Class  IV,  repeated  over  and  over  again 
in  Class  VII;  the  man  leaning  forward  on  his  stick  (nos.  9-11),  as  well 
as  the  choice  of  full  profile  or  full  front  view  instead  of  partial  profile, 
also  recall  Class  IV.  The  treatment  of  the  hair  on  no.  21,  the  form 
of  the  stele  on  no.  14,  and  the  representation  of  a  person  inside  the 
tumulus  on  nos.  6  and  7  have  been  compared  with  scenes  on  vases 
of  Class  V.  Other  lekythoi  of  this  series  have  connections  with  later 
lekythoi  on  which  the  drawing  is  in  dull  color;  the  drawing  on  no.  I 
has  been  compared  with  that  on  a  lekythos  of  Class  X;  the  use  of  a 
violet  wash  (cf.  no.  20)  is  characteristic  of  the  earliest  class  with  acan- 
thus ornament  on  the  stele,  Class  XI;  the  gestures  of  grief  and  the 
kneeling  figure  (nos.  8,  9,  16)  recur  in  Class  IX;  finally,  the  attitude 
and  the  stele  on  no.  9  belong  with  lekythoi  of  a  still  later  date.  Such 
a  comparison  leads  to  the  conclusion  that  the  vases  under  considera- 
tion do  not  belong  to  one  homogeneous  series.  They  fall  into  sets 
(nos.  1-2,  3-4,  9-10,  12-19,  23-25,  31-32)  which  have  in  common  only 
the  fact  that  the  drawing  is  in  dull  red  or  brown,  while  the  shape  and 
decoration  is  the  same  as  that  of  the  other  vases  of  Group  D.  The 
series  represents  some  experiments  in  the  use  of  dull  color,  and  some 
efforts  to  continue  the  production  of  small  lekythoi  like  those  of  Class 
VII,  after  drawing  in  glaze  outline  has  all  but  disappeared. 

It  is  unusual  to  find  some  traces  of  fire  on  these  lekythoi,  but  on 
no.  23  (Athens,  Nat.  Mus.  1889)  the  marks  of  fire  are  very  evident.  An 
examination  of  the  vase  shows  that  it  was  first  subjected  to  the  flames 
and  then  broken,  apparently  broken  before  it  was  placed  in  the  tomb. 


CONCLUSION 

SCENES  REPRESENTED  ON  LEKYTHOI 
CLASSES  I-VIII 

The  discussion  thus  far  has  had  to  do  mainly  with  the  historical  de- 
velopment of  lekythos  painting  and  its  relation  to  the  production  of 
other  classes  of  vases  in  Athens.  Yet  the  first  interest  of  these  lekythoi 
is  not  purely  technical,  nor  is  it  fitting  to  leave  the  subject  without 
some  study  of  the  scenes  represented  in  their  relation  to  everyday  life. 
Such  a  study  is  rendered  difficult  both  by  the  stereotyped  character  of 
many  of  the  scenes  and  by  their  dependence  on  more  complete  scenes 
in  a  different  technique.  Early  in  the  fifth  century  B.C.  the  black- 
figured  ware  repeated  for  the  most  part  old  types  of  mythological  scenes, 
while  there  was  a  marked  tendency  toward  scenes  from  domestic  life 
on  the  part  of  painters  of  red-figured  vases,  and  on  our  lekythoi  both 
lines  of  influence  are  marked.  At  the  same  time  some  distinctive 
features  may  be  noted:  (i)  in  mythological  and  religious  scenes,  and 
(2)  in  scenes  from  everyday  life;  a  third  class  of  scenes  (3)  that  have 
to  do  with  death  and  burial  is  peculiar  to  lekythoi. 

(i)   Scenes  from  Mythology  and  Religion 

The  following  list  of  these  scenes  on  the  lekythoi  already  discussed 
indicates  both  their  frequency  and  the  classes  in  which  they  fall. 

Gods  and  Attendants 

Apollo,  I,  7;  II,  20;  III,  26;  IV  3,  23  and  28. 

Artemis,  II,  i,  10,  11,  18,  20,  23;  III,  3. 

Athena,  II,  22;  III,  25,  32;  IV  i,  3. 

Bacchantes,  III,  8,  9,  33,  34;  IV  i,  3  (cp.  2);  VIII  2,  4. 

Demeter-Kore,  IV  2,  1 1 ;  IV  3,  29. 

Eros,  I,  4;  III,  35,  36. 

z  337 


338  ATHENIAN   WHITE   LEKYTHOI 

Hermes,  IV  i,  7;  VI  2,  3;  VII  2,  9. 
Iris,  III,  14;  VII  2,  6. 

Nike,  II,  3,  5-8,  15;   III,  2,  aa,  13,  31,  37,  38,  38a,  65,  78;   IV  i, 
9-1 1 ;  IV  2,  i;  IV  3,  28;  VII  i,  5,  6,  13. 
Satyrs,  III,  12,  69. 

Heroes  and  Demigods 

Aeneas-Anchises,  V,  79. 

Amazons,  IV  i,  1 8,  19;  IV  3,  30;  V,  78. 

Cadmus  ( ?),  VII  i,  1-3;  VII  2,  i. 

Charon,  V,  7-8;  VI  i,  7;  VII  2,  10-12. 

Dioskouroi,  III,  60. 

Electra-Orestes,  IV  i,  30. 

Hector- Andromache  ( ?),  V,  i. 

Heracles,  III,  4-5. 

Hypnos-Thanatos,  VI  i,  2-3. 

Medusa-Perseus,  III,  4a. 

An  examination  of  these  scenes  indicates  at  once  that  the  figures 
are  often  merely  decorative  and  without  particular  meaning.  Yet  the 
decorative  figures,  of  which  Nike  is  the  most  frequently  used,  ordi- 
narily carry  some  implement  suggesting  a  religious  act.  An  altar 
occurs  on  four  of  the  Nike  scenes,  a  torch  on  three  others,  a  wreath 
or  phiale  or  thyrsos  on  others  still.  In  the  first  list  given  above,  only 
eight  or  ten  of  the  vases  are  without  some  such  reference  to  worship. 
It  has  already  been  explained  that  on  black-figured  vases  the  gods  are 
very  often  depicted  as  engaged  in  some  form  of  distinctly  human 
activity.1  That  the  lekythos  painter  should  select  the  human  act  of 
worship  and  treat  the  gods  almost  always  from  this  standpoint  is  cer- 
tainly noteworthy,  the  more  so  that  this  particular  scene  is  not  very 
common  on  the  earlier  ware.  We  cannot  avoid  the  surmise  that  some 
of  these  lekythoi  were  intended  for  use  in  a  religious  ceremony,  and 
that,  a  ceremony  which  did  not  have  to  do  with  the  burial  of  the  dead. 
Just  what  use  there  would  be  for  small  perfume  jars  in  connection 
with  worship  must  remain  vague,  because  there  are  no  representations 
of  lekythoi  so  used,  as  there  are  of  lekythoi  used  at  the  funeral.  That 
perfumes  as  well  as  incense  were  used  in  the  ceremony  of  burnt-offer- 
ing is  by  no  means  unlikely.  The  existence  of  a  dedicatory  inscription 

1  Cp.  p.  41  f. 


CONCLUSION  339 

on  one  lekythos  (I,  7)  is  proof,  if  further  proof  were  needed,  that  these 
small  vases  had  a  use  in  worship  which  gave  them  a  place  among 
temple  utensils. 

The  scenes  in  which  are  depicted  gods  or  demigods  that  have  to 
do  with  the  dead  need  no  further  comment,  beyond  the  statement 
that  they  are  practically  confined  to  lekythoi.  The  Electra-Orestes 
scene  is  doubtless  derived  from  wall-painting,  and  is  interesting  as  the 
prototype  of  the  very  common  scene  at  the  tomb.  It  is  hard  to  credit 
the  lekythos-painter  with  the  invention  of  the  Charon  scene,  or  the 
scene  with  Hypnos  and  Thanatos,  though  these  cannot  be  traced  to 
any  earlier  pictorial  source.1  Perhaps  the  representations  of  Cadmus, 
if  this  be  the  correct  interpretation,  were  thought  of  as  having  to  do 
with  the  serpent  (dragon)  as  an  earth-spirit,  and  thus  found  a  place 
on  lekythoi,  along  with  other  scenes  that  have  to  do  with  burial  in 
the  earth. 

For  the  few  mythological  scenes  which  have  no  reference  either  to 
the  grave  or  to  worship,  no  explanation  is  offered  and  perhaps  none  is 
necessary.  The  striking  fact  remains  that  most  of  the  mythological 
scenes  do  have  reference  to  a  use  for  which  lekythoi  were  specifically 
made. 

Other  Religious  Scenes 

In  the  following  lists  are  included  scenes  of  worship  in  which  either 
men  or  gods  play  a  part.  Like  the  mythological  scenes,  these  also  are 
much  abbreviated,  unless,  indeed,  the  figure  is  better  explained  as  an 
extract  from  the  more  complete  scene. 

Altar,  I,  7;  II,  5,  8-12;  III,  5,  13,  24,  25,  37,  390,  40,  64,  68; 
IV  i,  8-9,  11-12;  VII  i,  8-9;  VII  2,  6;  VIII  2,  5. 

Libation  (no  altar),  II,  4;  III,  15,  16,  26,  41;  IV  i,  4,  10;  IV  2, 
n;  IV  3,  24;  VII  i,  n. 

Torch  (at  altar),  II,  10-12;  III,  68;  IV  i,  9;  (no  altar),  III,  2-3; 
IV  2,  11;  IV  3,  24. 

Sacrificial  basket,  IV  3,  25. 

Temple-column,  II,  4;  IV  i,  3. 

Procession,  II,  i,  3  ( ?),  18  ( ?). 

Pithoigia,  VII  2,  9. 

Thyrsos,  III,  31,  33. 

1  See  below,  p.  346  f. 


340  ATHENIAN   WHITE   LEKYTHOI 

The  commonest  form  of  altar  is  the  block  crowned  with  mouldings 
and  Ionic  volutes  which  is  found  on  red-figured  ware  of  this  and  later 
periods.  The  altar  of  unhewn  stones,  which  occurs  several  times,  is 
perhaps  not  found  on  red-figured  vases  until  a  later  date.  The  burn- 
ing wood  on  this  last  form  of  altar,  and  the  tail-piece  (6cr<£us)  in 
the  flame,  is  a  touch  of  reality  which  may  be  due  to  a  specifically 
religious  use  of  lekythoi.  A  third  form  of  altar,  a  high,  slender  pillar 
for  fruits  or  for  incense,  occurs  rarely.  The  scene  on  one  lekythos 
(IV  i,  12)  is  so  rich  in  detail  as  to  attract  attention.  The  wreath  on 
the  head  of  the  priest  or  sacrificer,  the  myrtle  branch  in  his  hand  before 
the  altar,  and  the  curl  of  hair  ( ?)  hanging  near  by,  may  be  regarded 
as  evidence  regarding  the  actual  practice  of  worship  in  Athens. 

The  libation  from  a  shallow  dish  ((^ictXTj),  which  is  depicted  on 
this  last  vase  and  on  nearly  half  the  altar  scenes,  is  found  also  on  a 
number  of  lekythoi  without  the  altar.  A  woman  with  pitcher  holding 
out  the  phiale  to  a  warrior  is  the  common  abbreviation  of  the  old  scene 
of  departure.  While  the  departure  scene  was  distinctly  religious  in 
origin,  I  have  included  here  only  those  scenes  which  had  some  other 
religious  reference,  as,  for  instance,  a  figure  carrying  a  torch,  or  a  god 
(e.g.  Nike)  pouring  the  libation.  The  evidence  of  vase-painting  is  not 
necessary  to  prove  the  importance  of  the  libation  in  Greek  worship, 
both  in  connection  with  burnt  sacrifice  and  by  itself.  The  more 
literal  pictures  of  it,  however,  are  a  welcome  illustration  of  the  literary 
evidence. 

The  torch  in  the  hands  of  a  man  or  a  god  is  to  be  differently  ex- 
plained in  different  classes  of  scenes.  Before  the  altar  it  seems  to  be 
a  torch  used  to  kindle  the  fire  on  the  altar.  And  as  this  function  is 
sometimes  assigned  to  Nike,  the  servant  of  the  gods  at  a  sacrifice,  we 
may  explain  in  this  way  the  torch  in  the  hands  of  Nike,  even  when  no 
altar  is  present.  A  common  use  of  the  torch  was  to  furnish  light  for 
worship  at  night,  but  I  find  no  clearly  marked  cases  of  this  usage  on 
lekythoi.  In  the  hands  of  Demeter  or  Artemis  the  torch  may  well 
refer  to  the  practice  of  worship  at  night,  though  it  is  to  be  explained 
more  directly  as  a  symbol  of  the  goddess.  The  connection  of  the  torch 
with  Artemis  (II,  10-11;  III,  3)  is  not  clearly  understood  from  the 
accounts  of  her  worship  at  Athens,  or  from  any  myth  of  Artemis.  We 
may  regard  it  as  evidence  for  some  "  mystery  "  element  in  the  case  of 
her  worship,  as  in  the  worship  of  Demeter. 

One  of  the  unexplained  religious  objects  in  vase-painting  is  a  flat 
basket  or  cake  with  three  erect  points.  This  occurs  once  on  lekythoi 


CONCLUSION  341 

(IV  3,  25),  and  from  each  of  the  three  points  rises  a  twig  of  myrtle  ( ?). 
The  companion  of  the  woman  with  this  "  basket "  holds  a  large  black 
taenia  such  as  was  used  at  the  grave;  we  may  therefore  infer  that, 
although  the  object  in  question  was  commonly  used  at  a  sacrifice,  it 
also  had  some  connection  with  worship  at  the  grave. 

A  column  on  vases  is  the  regular  abbreviation  for  a  portico.  On 
lekythoi  it  usually  means  some  portico  in  connection  with  a  house. 
When  it  is  accompanied  by  a  statue  of  Athena  (IV  I,  3),  it  must  mean 
a  temple  of  Athena.  And  when  it  is  followed  by  a  woman  pouring  a 
libation  and  by  an  erect  serpent  (II,  4),  it  is  best  understood  as  a  temple. 
In  this  instance  one  is  tempted  to  connect  the  serpent  and  priestess  and 
temple  with  the  account  of  the  sacred  serpent  of  Athena  on  the  Athe- 
nian acropolis. 

The  lekythoi  with  an  abbreviated  religious  procession  are  interest- 
ing only  in  that  they  continue  another  black-figured  scene  in  which 
gods  take  the  part  of  men  in  an  act  of  worship.  Other  religious 
symbols,  such  as  the  thyrsos  and  the  wreath,  demand  no  special 
comment.  The  very  interesting  scene  which  seems  to  refer  to  the 
pithoigia  at  Athens  has  been  sufficiently  treated  above  (VII  2,  9,  p.  307), 
and  needs  only  a  reference  here.  In  general,  the  religious  scenes, 
like  the  mythological  scenes,  confirm  the  belief  that  lekythoi  were 
used  (as  perfume  vases)  in  connection  with  worship. 

(2)   Scenes  from  Everyday  Life 

The  pursuits  of  men  are  figured  on  these  lekythoi  but  rarely,  for 
this  sort  of  perfume  vase  found  little  or  no  use  by  men.  The  scenes 
which  do  occur  are  to  be  explained  as  due  to  the  influence  of  earlier 
red-figured  ware,  on  which  they  are  very  common. 

War,  I,  6,  8,  9;  II,  16,  17;  III,  i,  10,  58;  IV  i,  2,  17-19;  V,  76-79; 
VII  i,  1-4;  VII  2,  i;  VIII  i,  i;  VIII  2,  1-2. 

Amusements  (cockfight),  I,  1-3;  (pessoi)  III,  51;  (palaestra) 
III,  55,  63;  (hunting)  I,  5;  VI  i,  i. 

The  epheboi  wear  the  customary  chlamys,  petasos,  and  often  boots 
laced  high;  while  the  older  men  ordinarily  wear  only  an  himation, 
and  Charon  has  the  workman's  exomis.  Warriors  may  have  a  com- 
plete dress  —  short  chiton  girded,  cuirass,  greaves,  high  conical  helmet, 
and  shield  —  or  they  are  represented  as  receiving  some  part  of  their 
armor  such  as  a  (Corinthian)  helmet.  It  is  natural  that  in  these 


342  ATHENIAN   WHITE    LEKYTHOI 

derived  scenes  there  is  nothing  distinctive.  That  they  continue  among 
the  grave  scenes  of  Classes  V  and  VI  is  due  to  the  same  cause  as  the 
continuance  of  domestic  scenes  on  grave  lekythoi,  viz.  the  Greek  habit 
of  representing  the  dead  as  engaged  in  the  occupations  which  had  been 
customary  during  their  lifetime. 

Scenes  from  domestic  life,  on  the  other  hand,  are  characteristic  of 
these  lekythoi,  especially  lekythoi  of  Class  IV. 

Toilet  scenes  (washing),  III,  66;  (dressing),  V,  36,  40-43;  (with 
mirror),  III,  39,  56,  70-72;  IV  I,  15,  26;  IV  2,  3;  VI  2,  14;  VII  2,  la; 
(with  toilet  vases),  IV  3,  15;  V,  44,  50,  62,  80;  (with  jewellery  box), 
IV  2,  6;  IV  3,  i,  8,  14,  19;  VI  2,  7-8. 

Other  occupations  (spinning),  II,  13  ( ?);  Ill,  30;  IV  i,  i;  IV  2,  4; 
(fetching  water),  II,  14;  (playing  ball),  III,  n,  73;  (music),  II,  2,  2i; 
III,  51,  77;  IV  2,  12;  V,  33,  42  ( ?),  45;  VII  2,  2;  VIII  2,  27;  (with 
maid  and  child),  IV  2,  na;  IV  3,  7;  cp.  V,  i;  VI  I,  14,  25;  (conversa- 
tion with  a  man),  III,  56,  57;  IV  i,  28;  IV  3,  17,  19,  23;  V,  13,  44, 
47,  49,  cp.  80;  (departure  of  warrior),  IV  I,  29;  cp.  IV  2,  13;  V,  I, 
46,  66,  cp.  28;  cp.  VI  i,  6,  8,  20;  (libation  at  departure),  IV  2,  n  ( ?); 
IV  3,  43,  22,  23;  V,  12,  64;  VII  i,  8,  9,  11. 

Preparation  to  visit  the  grave  (with  taenia),  III,  i8a,  19;  IV  i,  26; 
IV  3,  17-18;  V,  32,  35,  38,  51,  63,  65;  VII  i,  5,  7;  VIII  i,  2;  (with 
basket  of  taeniae,  etc.),  Ill,  22,  61;  IV  i,  20,  21;  IV  2,  8  ( ?), 
14,  15;  IV  3,  7b,  10-13,  16;  V,  3,  37,  48,  483,  cp.  80;  VI  2,  7-8; 
VII  2,  13-14;  VIII  i,  5. 

Though  other  types  of  vases  in  the  fifth  century  have  more  elaborate 
domestic  scenes  with  many  figures,  these  lekythoi  offer  an  important 
contribution  to  our  knowledge  of  life  in  the  home.  The  prevalence  of 
these  scenes  can  only  be  due  to  the  fact  that  white  lekythoi  were  quite 
generally  used  by  women  as  perfume  vases,  especially  in  the  middle  of 
the  fifth  century.  Mirrors,  different  forms  of  toilet  vases,  and  jewellery 
caskets  bring  the  objects  of  the  toilet  familiarly  to  our  knowledge,  even 
when  the  scenes  are  repeated  with  but  little  variety. 

The  occupations  of  the  Athenian  woman  at  home  are  nowhere  more 
clearly  depicted.  Her  fondness  for  music  and  knowledge  of  musical 
instruments  is  attested;  she  finds  amusement  in  a  sleight-of-hand  game 
with  balls;  her  industry  in  spinning  gives  occasion  for  some  very 
literal  scenes;  and  her  care  for  her  children  is  simply  and  effectively 
expressed.  Scenes  of  conversation  between  two  women  or  a  mistress 


CONCLUSION  343 

and  maid  are  so  numerous  —  and  so  conventional  —  that  they  have 
not  been  listed  above.  Scenes  of  conversation  with  a  man,  husband 
or  brother  or  companion,  are  rather  numerous  in  view  of  the  secluded 
position  of  the  Athenian  woman.  More  common  are  scenes  of  depar- 
ture, in  which  the  woman  brings  a  helmet  to  her  husband,  or  he  shows 
her  some  piece  of  armor,  or  comes  to  say  farewell  before  he  goes.  That 
the  old  scene  of  a  libation  in  connection  with  a  warrior's  departure 
should  frequently  appear,  is  perhaps  as  much  due  to  the  habit  of 
making  religious  scenes  as  to  the  old  convention  of  treating  a  warrior's 
departure  in  this  manner. 

The  prevalence  of  domestic  scenes,  especially  in  Class  IV,  may  not 
be  wholly  due  to  the  use  of  lekythoi  in  the  toilet  of  women,  for  a  simple 
domestic  scene  was  quite  in  place  on  a  lekythos  used  at  the  burial  of  a 
woman.  That  lekythoi  with  domestic  scenes  were  so  used  is  the  more 
probable,  since  there  exists  no  sharp  line  between  these  scenes  and 
scenes  of  preparation  to  visit  the  grave.1  Inasmuch  as  most  of  these 
lekythoi  were  made  before  the  scene  at  the  grave  became  common  on 
lekythoi,  it  is  wise  only  to  include  under  this  heading  the  cases  where 
reference  to  the  grave  is  specific.  To  interpret  the  representation  of 
a  woman  dressing  as  such  a  scene  of  preparation  to  visit  the  grave  is 
quite  unwarranted.  There  are,  however,  a  considerable  number  of 
domestic  scenes  in  which  the  reference  to  the  grave  is  unequivocal. 
The  list  given  includes  cases  in  which  one  of  the  two  persons,  ordi- 
narily both  women,  is  holding  out  either  a  taenia  or  a  basket  of  taeniae, 
etc.  A  lekythos,  in  the  basket  (kanistron),  or  in  the  woman's  hand,  is 
probably  a  perfume  vase  to  be  used  in  ceremonies  at  the  grave.  The 
use  of  wreaths,  which  often  are  in  the  basket,  is  shown  by  some  grave 
scenes  where  a  wreath  hangs  on  the  stele  or  is  laid  against  the  steps  of 
the  stele.  The  interest  of  these  preparation  scenes,  however,  is  not  so 
much  in  the  objects  which  appear  as  in  the  fact  that  we  have  here  a 
natural  transition  from  domestic  scenes  to  scenes  at  the  grave. 

In  the  different  types  of  domestic  scenes  the  occupation  of  the  per- 
sons hardly  deserves  more  attention  than  the  details  which  help  to  fill 
in  our  picture  of  the  home.  The  column  (III,  3Qa-b,  49,  50;  IV  I,  1-2; 
IV  2,  3,  5,  na;  IV  3,  22;  cp.  p.  54,  87)  can  only  stand  for  some  portico 
in  a  part  of  the  house  where  the  woman  was  at  home.  For  furniture 
we  have  the  simple  stool  (dipkros}  with  cushion  on  a  seat  of  interlaced 
thongs  (e.g.  IV  3,  5,  8,  10,  u,  13,  16;  V,  12,  43,  46,  62-64);  the  small 
table  with  slender  legs  (IV  I,  16;  IV  2,  14,  etc.);  and  a  comfortable 

1  This  class  of  icene«  hat  been  dbcusted  by  Wemhiupl,  in  the  FeituArift  fir  One  Btnndorf. 


344  ATHENIAN   WHITE   LEKYTHOI 

chair  with  back  that  curves  and  inclines  somewhat  (IV  3,  2-3;  III,  45, 
46).  The  wool-basket  (kalatbos)  often  stands  on  the  floor,  convenient 
to  the  woman's  hand  (II,  13;  III,  45,  46;  IV  I,  24,  27;  IV  2,  2-4,  9; 
IV  3,  3),  or  she  carries  wreaths,  vases,  and  taeniae  in  a  flat  basket 
(kanistron)  with  ornaments  running  along  the  narrow  sides.  In  the 
hands  of  women  are  found  different  types  of  vases,  an  alabastron  hang- 
ing by  a  string,  a  lekythos,  a  delicate  pitcher  (oinochoe),  a  high  pyxis, 
or  a  broader  vase  with  low  foot  and  cover  (smegmatotheke  ?)  containing 
perhaps  an  earth  which  took  the  place  of  our  soap.  This  last  type  of 
vase  was  a  favorite  with  these  painters;  now  it  is  black,  now  in  out- 
line, now  enamel-white  with  a  hatched  pattern  in  glaze  lines,  while 
once  a  youth  removes  the  cover  from  the  smegmatotheke  in  a  woman's 
hand.  A  flower,  a  wreath  of  flowers,  or  a  fruit  is  often  seen  in  the 
hands  of  a  woman. 

Objects  hanging  beside  the  figures  frequently  mark  the  scene  as 
inside  the  home,  until  they  become  a  mere  convention  of  the  painter 
and  appear  where  no  walls  exist,  e.g.  beside  the  stele  in  grave  scenes. 
The  oinochoe,  alabastron,  or  lekythos  is  commonly  one  of  these  hang- 
ing objects,  though  only  the  alabastron  is  constructed  to  hang  rather 
than  to  stand  on  a  shelf.  A  sakkos,  or  head-cloth  for  confining  the 
hair,  is  even  more  common  in  Class  V,  and  a  mirror  may  hang  on  the 
opposite  side  of  the  scene.  The  lyre  (IV  3,  20)  and  the  axe  (IV  3,  30) 
on  the  wall  probably  represent  no  unusual  sight  in  the  home;  but  the 
draped  taenia  (III,  17,  18,  29,  31,  39;  IV  i,  5-6;  IV  3,  8)  may  rather 
have  reference  to  worship  or  to  the  grave. 

The  number  of  household  pets,  especially  birds,  is  striking.  The 
dog  (II,  2;  III,  6)  is  the  natural  companion  of  the  young  man,  but 
literary  sources  do  not  suggest  the  number  and  variety  of  birds  that  are 
found.  The  crow  or  raven  occurs  four  times  (III,  n;  IV  2,  3,  10; 
IV  3,  11);  the  quail  (V,  13),  the  stork  (IV  3,  10),  the  duck  (V,  45), 
the  swan  (IV  3,  30),  and  the  goose  (IV  2,  5;  V,  46)  also  belong  in  these 
home  scenes.  Possibly  the  snake  (VII  2,  3a)  should  be  added  to  the 
list  of  pets  represented  on  lekythoi. 

The  data  with  reference  to  the  dress  of  women  are  important 
because  of  the  use  of  color,  and  because  the  different  classes  of  lekythoi 
can  be  somewhat  accurately  dated.  No  detailed  study  of  this  subject 
can  be  attempted  here.  On  earlier  lekythoi,  ordinarily  the  chiton  is 
without  color,  while  the  himation  is  black  or  dark  brown.  In  Classes  V 
and  VI  the  use  of  black  is  not  common,  though  a  black  sleeveless 
chiton  with  red  (or  purple)  fold-lines  occurs  several  times.  The  chiton 


CONCLUSION  345 

is  more  often  a  light  red;  sometimes  it  is  brown,  or  a  dark  red  with 
black  fold-lines.  A  striped  material  is  indicated  by  glaze  lines  on 
some  of  the  small  lekythoi  of  Classes  III,  VII,  and  VIII;  stripes  of  red 
are  found  on  several  specimens  of  Class  VI  (cp.  also  IV  i,  16). 

As  for  the  nature  of  the  garment  itself,  the  chiton  with  full  sleeves 
is  the  usual  form.  The  sleeveless  "Doric"  chiton  hardly  occurs  in 
Classes  I-III;  in  Class  IV  it  is  the  common  dress  of  the  maid,  and  it 
is  not  rare  in  Classes  IV  and  VI  as  a  dress  for  the  mistress.  Both 
forms  of  chiton  may  be  worn  without  any  girdle,  or  pulled  out  loose 
above  a  girdle.  The  Doric  chiton  of  the  maid  may  be  girded  without 
hanging  loose  over  the  girdle;  it  may  have  a  long  overfold  (diploidion) 
with  no  girdle,  or  an  overfold  confined  by  a  girdle  (e.g.  V,  35,  38,  63^). 
The  Doric  chiton  girded  over  an  overfold  seems  to  belong  near  the 
middle  of  the  fifth  century;  it  was  just  a  little  later  (Class  VI)  that  the 
lekythos  painter  used  the  Doric  chiton  as  freely  as  the  Ionic  chiton  for 
his  women. 

In  the  scenes  of  home  life  (especially  in  Class  IV)  the  himation  is 
usually  absent,  while  in  Class  V  it  ordinarily  is  present  when  the 
woman  wears  a  sleeve  chiton,  even  though  she  is  seated  at  home.  The 
seated  figure  drops  the  himation  about  her  knees;  the  himation  of 
the  standing  figure  is  draped  so  as  to  leave  the  right  arm  and  shoulder 
free,  and  then  thrown  back  over  the  left  shoulder.  In  a  few  cases  it  is 
drawn  forward  over  both  shoulders  and  hangs  in  front  (V,  20;  VII  2, 
28,  38;  VIII  I,  33),  or  it  is  arranged  more  like  a  chlamys  (VII  2,  42). 
It  is  a  bit  of  realism  when  a  woman  going  to  the  grave  draws  her  hima- 
tion over  her  head  and  right  arm  (V,  3,  67),  as  she  naturally  would  in 
public. 

Methods  of  dressing  the  hair  change  more  at  this  period  than  gar- 
ments or  the  fashion  of  wearing  them.  In  Class  II  and  on  some  other 
early  vases  the  hair  seems  to  be  arranged  in  a  long  coil  or  braid  which 
is  looped  up  at  the  back  of  the  head;  or  again  the  hair  hangs  loose 
behind,  and  is  only  confined  by  a  band  around  the  top  of  the  head. 
In  Class  IV  a  long  coil  or  braid  hangs  down  behind,  and  the  end  of  it 
seems  to  be  in  a  little  bag;  or  the  hair  is  confined  in  a  little  round 
mass  from  which  the  ends  protrude;  or  again  it  is  fastened  against  the 
head  behind  by  a  cord  wound  four  or  five  times  about  the  head.  In  the 
later  classes  it  is  entirely  confined  in  a  cloth  (sakkos)  and  held  in  place 
by  a  broad  taenia,  or  it  is  coiled  at  the  back  of  the  head  and  held  by  a 
similar  taenia  without  the  sakkos.  This  last  method  continues  on  leky- 
thoi with  drawing  in  lines  of  dull  color. 


346  ATHENIAN   WHITE   LEKYTHOI 

(3)  Scenes  connected  with  Death  and  the  Grave 

(a)   The  body  laid  at  the  grave  (depositio). 

Of  the  three  successive  parts  of  a  funeral,  the  "lying  in  state" 
(expositio)  is  depicted  only  on  later  lekythoi,  the  funeral  procession  is 
not  found  on  these  lekythoi  at  all,  while  the  deposition  of  the  body  at 
the  grave  occurs  twice  (VI  I,  2-3).  No  full  discussion  of  this  last 
scene  is  in  place,  for  it  is  more  common  on  white  lekythoi  of  a  later 
date;  here  one  may  speak  only  of  the  origin  of  this  scene  in  lekythos 
painting. 

In  distinction  from  the  very  literal  expositio  scene  of  one  or  two 
decades  later,  the  present  scene  is  almost  purely  imaginative,  not  to 
say  poetic.  The  dead  young  warrior  rests  lightly  in  the  arms  of  two 
winged  figures,  or  is  supported  on  a  sort  of  couch  before  the  stele.  There 
is  nothing  grewsome  or  melancholy  in  the  dead  man  or  in  the  calm 
dignified  figures  which  support  him.  Some  swift  power  has  snatched 
the  warrior  away  from  life,  and  the  same  winged  figures  who  caused 
his  death  are  depositing  the  body  quietly  at  the  tomb.  That  one  of 
them  should  grasp  the  hand  of  the  dead  and  raise  his  other  hand  to  his 
head  in  gesture  of  mourning,  is  simply  the  recognition  that  death  must 
cause  sorrow  though  it  be  an  act  of  divine  spirits. 

After  the  discussion  of  Robert  1  there  can  be  little  question  that  the 
winged  figures  are  Death  and  Sleep,  Thanatos  and  Hypnos,  the  divini- 
ties sent  by  Zeus  to  carry  the  body  of  Sarpedon  to  his  home  in  Lycia. 
Thus  the  scene  belongs  first  to  the  epic,  and  to  the  range  of  story  con- 
nected with  the  epic.  Thanatos  and  Hypnos  may  at  times  have  been 
worshipped;  here  they  belong,  not  to  religion,  but  to  poetic  myth,  a 
myth  easily  accepted  by  men  who  found  Sleep  and  Death  as  parts  of 
their  own  experience.  It  is  possible  that  the  lekythos  painter  was 
working  directly  from  epic  myth,  when  he  adapted  this  scene  to  his 
humble  art.  Yet  it  is  difficult  to  refrain  from  the  assumption  that 
some  painter  on  a  larger  scale  had  first  reproduced  in  graphic  form 
the  story  of  Sarpedon  in  the  Iliad.  Then  the  lekythos  painter  need 
only  simplify  and  generalize  a  painting  already  familiar,  interpreting 
the  mythical  scene  in  terms  of  everyday  life.  There  is  no  question 
that  the  practice  of  reducing  mythical  scenes  to  scenes  of  daily  life  was 
common  among  vase  painters  of  this  period,  and  the  assumption  that 

iTAanatot;   XXXIX  Berlin.    Winckelmannsprogram.      1879. 


CONCLUSION  347 

the  scene  under  discussion  was  derived  from  such  a  larger  mythical 
painting  is  the  only  satisfactory  explanation  of  the  delicate  imagery  in 
this  scene  as  contrasted  with  other  scenes  on  these  little  lekythoi. 

(b)   Charon  coming  for  the  soul  of  the  dead:  V,  7-8;  VI  1,7;  VII  2, 

IO-I2.1 

The  Charon  scene,  like  the  one  just  discussed,  is  by  no  means  lim- 
ited to  lekythoi  with  drawing  in  glaze  lines;  but  here,  as  before,  the 
main  lines  of  the  scene  are  determined  in  the  earlier  period  now  under 
discussion.  While  the  previous  scene  is  a  mythical  interpretation  of 
actual  practice,  Charon  and  his  boat  have  as  little  to  do  with  epic  my- 
thology as  with  the  practice  of  burial.  For  Charon  is  preeminently  one 
of  the  spirits  of  popular  belief,  belonging  to  that  range  of  imagery  which 
expresses  the  separation  between  this  world  and  the  world  of  souls. 
Never  a  god  to  be  worshipped  or  to  grant  favors  to  men,  he  exacts  a 
toll  before  the  shade  can  reach  its  final  resting  place.  A  personage 
so  vivid  in  the  thought  of  the  people  can  hardly  be  called  allegorical. 

The  primary  elements  of  the  Charon  scene  on  lekythoi  are  two: 
Charon  in  his  boat,  and  the  dead  person  whom  he  is  to  ferry  across; 
in  the  more  complete  scene  Hermes  brings  the  dead  person,  some  friend 
or  relative  of  the  dead  may  attend  him,  and  little  winged  souls  flutter 
about.  As  for  Charon  himself,  he  is  nothing  more  or  less  than  the 
ordinary  ferryman  of  the  Attic  coast,  now  a  plain  workman,  now  in- 
tentionally unkempt  if  not  ugly,  now  almost  a  dignified  man.  He 
wears  the  workman's  blouse  (exomis)  and  felt  cap,  as  he  brings  his 
boat  to  the  shore  with  a  long  pole.  The  boat  either  has  a  high  end 
curving  up  or  a  low  protruding  point  (stern  and  prow?);  once  the 
reeds  are  represented  near  the  end  of  the  boat;  again  a  large  eye  is 
drawn  by  the  prow,  and  thole-pins  are  visible  on  the  upper  edge. 
On  one  of  the  smaller  specimens  Charon  holds  out  his  right  hand 
as  though  to  assist  the  dead  person  on  board  his  bark. 

Except  for  one  of  the  small  vases  the  scene  includes  the  dead  person, 
a  man  or  woman  closely  wrapped  in  the  himation  as  for  a  journey. 
The  shrinking  girl  on  the  Boston  lekythos  (V,  8)  expresses  most  quaintly 
her  fear  of  death.  If  there  were  but  one  of  the  flying  "souls"  it  might 
be  regarded  as  another  form  of  the  dead  person.  The  occasional 
presence  of  more  than  one  soul  and  the  gesture  of  mourning  both 
demand  some  other  explanation.  On  black-figured  ware  the  soul  bears 
the  complete  semblance  of  the  living  person  (e.g.  of  Hector),  so  that 

1  Only  one  of  these  five  example*  wai  known  to  Pettier,  Litythti  blatut,  p.  34. 


348  ATHENIAN   WHITE   LEKYTHOI 

there  is  no  question  as  to  its  identity.  These  souls,  on  the  other  hand, 
all  wear  the  long  girded  chiton  of  women  and  are  much  smaller  than 
the  older  type.  Though  they  are  rudely  drawn,  we  may  note  that 
sometimes  both  hands  are  extended,  again,  one  hand  is  raised  to  the 
head  as  in  mourning,  or  thirdly,  the  soul  carries  a  long  object  like  a 
thymiaterion  or  possibly  a  torch.  The  presence  of  these  figures  may 
merely  suggest  the  lower  world  with  its  flitting  unsubstantial  presences, 
to  which  the  dead  man  is  to  be  borne.  The  same  figures  flying  in  and 

O  J          O 

out  of  an  opened  pithos  beneath  the  wand  of  Hermes  (VII  2,  9)  are 
in  line  with  this  suggestion.  In  any  case,  they  seem  to  be  inhabitants 
of  the  lower  world,  while  the  similar  figures  flitting  about  the  stele  on 
later  lekythoi  may  represent  an  old  popular  belief  in  the  association 
of  the  soul  with  the  tomb  itself. 

The  presence  of  Hermes  is  a  little  odd,  for  it  is  the  function  of 
Hermes  Psychopompos  to  conduct  souls  to  the  "abode  of  Hades," 
not  to  bring  the  dead  to  Charon.  It  can  only  be  explained  as  the 
popular  combination  of  a  purely  mythical  element  with  the  popular 
belief  in  a  ferryman  of  the  dead.  Hermes  is  a  dignified  figure,  a  bearded 
man,  looking  at  the  dead  person  or  holding  his  hand,  and  pointing 
toward  Charon  with  his  kerykeion.  His  presence  both  guarantees  the 
dead  person  a  reception  by  Charon  and  requires  him  to  go  with  the 
ferryman  to  the  other  shore.  Hermes  beside  the  grave  stele,  on  a 
later  lekythos  (VI  2,  3),  suggests  that  power  to  bring  the  dead  to  rest, 
which  here  is  more  graphically  represented. 

On  one  of  these  vases  (V,  8),  as  on  some  later  lekythoi,  still  another 
figure  is  present,  probably  a  relative  of  the  dead.  By  this  device  the 
connection  is  shown  between  the  dead  person  and  the  world  which  he 
has  but  recently  left.  Such  an  association  of  the  dead  with  the  living, 
foreign  as  it  is  to  our  thought,  is  the  regular  practice  on  grave  monu- 
ments at  Athens;  evidence  which  points  in  the  same  direction  in  other 
lekythos  scenes  may,  therefore,  be  accepted  at  its  full  value. 

The  origin  of  the  Charon  scene  will  hardly  be  credited  to  the  leky- 
thos maker,  though  it  was  he  who  adapted  it  for  use  on  vases.  The 
presence  of  Charon,  the  ferryman,  in  Polygnotus's  great  painting  at 
Delphi  shows  that  the  theme  was  not  entirely  unknown  to  the  painter. 
Some  such  work  presumably  laid  down  the  main  lines  of  the  scene  as 
the  Athenians  knew  it.  The  credit  of  perceiving  its  fitness  and  utility 
for  lekythoi,  and  of  adapting  the  figures  so  as  to  suggest  the  departure 
of  the  person  at  whose  funeral  the  vase  may  be  used,  is  enough  for  the 
lekythos  painter. 


CONCLUSION  349 

(c)    The  scene  at  the  grave. 

Fully  half  the  lekythoi  with  drawing  in  glaze  outline  and  nearly  all 
the  later  lekythoi  represent  the  grave  monument  with  one  or  more 
persons  near  it.  Such  a  scene  could  not  have  originated  until  lekythoi 
were  regularly  used  in  connection  with  burial.  The  occasional  appear- 
ance of  this  scene  along  with  domestic  scenes  in  the  earlier  classes  of 
lekythoi,1  of  course  indicates  that  lekythoi  were  used  at  the  burial  as 
well  as  in  the  home  in  the  earlier  half  of  the  fifth  century  B.C.  It  was 
some  time  after  the  middle  of  the  century  before  the  lekythos  came  to 
be  associated  with  the  grave  alone  and  the  grave  monument  became 
its  proper  decoration. 

The  particular  form  of  monument  in  different  classes  of  lekythoi  is 
due  as  much  to  the  convention  of  the  painter  as  to  actual  practice, 
(i)  The  earliest  type  of  monument  to  appear  on  lekythoi  is  the  grave 
vase  (II,  19;  cp.  V,  10,  26;  VII  2,  35).  The  specimen  in  Class  II  is 
evidently  so  literal  as  to  give  valuable  evidence  in  regard  to  the  type 
of  monument  used  at  Athens  in  the  second  quarter  of  the  fifth  cen- 
tury B.C.  Later  vases  are  occasionally  set  upon  the  steps  of  the  monu- 
ment (e.g.  V,  22),  but  they  are  given  a  very  subordinate  place.  (2)  The 
commonest  type  of  monument  on  earlier  lekythoi  and  on  small  lekythoi 
generally  is  a  slender  shaft  with  triangular  top,  set  upon  two  or  three 
low  steps.  This  is  the  type  of  monument  also  which  is  combined  with 
the  tumulus  on  a  few  lekythoi,  especially  in  Classes  VII  and  VIII. 
Though  it  is  quite  probable  that  the  slender  shaft  was  in  general  use 
in  the  fifth  century  B.C.,  its  prevalence  on  small  lekythoi  soon  becomes 
a  matter  of  convention.  A  modification  of  this  type,  a  plain  shaft  or 
pillar  with  flat  top,  is  found  in  Class  VI  (and  in  Class  IX,  the  earliest 
class  with  drawing  in  dull  color).  On  one  interesting  example  a 
helmet  is  painted  near  the  top  of  the  stele  (VI  I,  2).  Though  it  is 
possible  that  a  helmet  was  sometimes  attached  to  the  stele,  as  taeniae 
were  tied  around  the  shaft,  it  is  clear  in  this  instance  that  it  was  cut  in 
relief  or  more  probably  painted  to  indicate  that  the  grave  belonged  to 
a  warrior.  (3)  A  characteristic  form  of  monument,  no  doubt  copied 
from  actual  practice,  is  a  slender  shaft  rising  from  two  or  three  steps 
and  crowned  by  a  palmette  with  scrolls.  The  reserved  palmette  in  a 
rounded  or  triangular  top  (e.g.  V,  20-22)  is  unusual;  it  may  be  copied 
from  a  palmette  painted  on  the  marble,  or  it  may  be  a  device  carried 
over  from  the  red-figured  technique.  The  usual  form  is  a  free  anthe- 

i  II,  19;  III,  43,  59  i  IV  i,  aa,  a3,  30;  IV  3,  ao-ai. 


350  ATHENIAN   WHITE   LEKYTHOI 

mion,  copied  from  the  carved  marble  top  of  the  actual  stele.  The  first 
attempts  of  the  painter  are  somewhat  imperfect  (V,  17);  soon,  how- 
ever, the  drawing  is  gracefully  done.  This  type,  which  occurs  in 
Classes  V  and  VI,  is  continued  in  Class  X  (with  drawing  in  dull  color), 
(4)  A  broad,  low  monument  on  two  or  three  steps  is  found  occasionally 
in  the  later  classes,  beginning  with  Class  V.  Sometimes  this  form  of 
stele  has  a  plain  top;  occasionally  figures  are  drawn  on  it  as  though 
it  served  as  the  base  for  sculpture  (nude  youth,  VI  I,  13;  mother  and 
child,  VI  i,  14;  sphinx,  VII  I,  14);  again  it  may  have  a  triangular  top, 
either  plain  or  adorned  with  figures.  A  modification  of  this  type, 
sometimes  with  rounded  top,  is  found  in  Classes  VII-VIII;  here  a 
seated  figure  is  drawn  either  on  the  monument  itself  or  on  the  triangular 
top,  as  though  the  painter  were  already  familiar  with  the  broader 
stelai  on  which  such  a  seated  figure  was  carved  in  relief.  There  is  no 
reason  for  dating  lekythoi  with  this  form  of  stele  before  the  last  quarter 
of  the  fifth  century  B.C. 

On  the  shaft  of  the  monument,  whatever  its  type,  taeniae  are  often 
fastened,  sometimes  to  the  number  of  four  or  five.  A  thick  taenia, 
with  the  ends  tied  together  to  form  a  circle,  is  occasionally  laid  against 
the  steps  (Class  V,  series  e).  Wreaths  are  rarely  seen  (V,  22;  VI  i,  10); 
small  vases,  also,  stand  on  the  steps  in  a  very  few  cases  (V,  4,  22,  etc.). 
In  actual  practice  bronze  vases  may  have  been  fastened  on  the  steps 
as  on  the  top  of  a  monument.  An  actual  inscription  occurs  on  a  not 
very  early  lekythos  (III,  43),  while  an  imitation  inscription  is  found 
twice  on  vases  not  long  after  the  middle  of  the  fifth  century  (V,  10,  20). 

Besides  the  monuments  in  the  form  of  stelai,  and  sometimes  asso- 
ciated with  the  stele  on  the  same  vase,  we  have  found  a  high  rounded 
monument  which  has  been  described  as  a  tumulus.  The  evidence 
from  black-figured  ware,  as  has  been  pointed  out  (p.  206  f.),  is  in  favor 
of  the  view  that  we  have  to  do  with  a  high  mound  of  earth  erected 
over  the  grave  and  perhaps  covered  with  some  material  like  plaster 
or  terra-cotta  slabs.  The  only  objection  to  this  view  is  the  fact  that 
the  supposed  tumulus  rests  on  a  broad,  low  step  like  the  white  (marble) 
cippus  rarely  found  on  black-figured  ware.1  The  size  of  the  monu- 
ment, which  is  at  times  as  high  as  the  persons  beside  it,  the  presence 
of  a  stele  before  it  or  on  top  of  it,  and  the  pictures  of  a  tumulus  with 
similar  base  on  other  ware,2  all  confirm  the  belief  that  we  are  dealing 
with  a  tumulus  here.  If  the  mound  was  walled  over  with  plaster  or 
similar  material,  it  would  be  quite  possible  to  make  it  with  a  step 

1  Man.  Imt.  VIII,  Tav.  v.  2  See  p.  206,  n.  2. 


CONCLUSION  351 

beneath  like  other  forms  of  grave  monument.  The  row  of  circles  on 
the  face  of  this  step,  as  has  been  pointed  out,  may  be  intended  for 
rosettes  or  some  similar  ornament.  Taeniae  are  draped  over  the  top 
of  the  tumulus;  in  one  case  (V,  22),  foliage  is  laid  on  its  top;  on  two 
interesting  vases  we  seem  to  see  the  dead  person  lying  inside  the 
tumulus  (VIII  2,  6-7);  finally,  a  vase  now  broken  gives  a  quaint 
picture  of  a  crow  and  a  hare  (  ?)  perched  on  the  sides  of  the  tumulus 

(VII  2,  27). 

The  presence  of  a  table  or  stool  for  a  basket  of  taeniae,  etc.,  beside 
the  stele  (IV  3,  20;  V,  9)  may  correspond  to  actual  practice,  though 
it  is  quite  as  probable  that  such  objects  were  carried  over  from  domestic 
scenes  of  preparation  to  visit  the  grave.  Certainly  the  objects  hanging 
beside  the  stele  where  no  wall  exists  are  a  reminiscence  of  objects 
hanging  in  the  house.  The  mirror  (V,  22;  VI  2,  7-8;  cp.  VII  2, 
28-29)  belongs  in  the  gynaikeion;  the  lyre  (IV  3,  20),  the  vase  (V, 
9-10,  20,  22,  82),  and  the  wreath  (VII  2,  22;  VIII  i,  7;  VIII  2,  13) 
may  have  to  do  with  the  grave,  as  the  taenia  does  (V,  6,  21;  VIII  I, 
7-8);  but  the  purse  (V,  10,  21;  VII  2,43;  cp.  V,  70)  has  no  apparent 
meaning  here. 

It  goes  without  saying  that  the  persons  on  either  side  of  the  stele 
are  normally  relatives  of  the  dead  who  have  come  to  the  tomb  to  mourn 
or  to  do  honor  to  the  man  buried  there.  In  accordance  with  Greek 
practice  the  offerings  are  ordinarily  brought  by  women;  it  is  very  rare 
to  find  two  men  at  the  tomb,  though  one  of  the  figures  is  usually  a 
man  who  seems  merely  to  watch  what  is  going  on.  The  woman  may 
be  holding  out  her  offering  toward  the  stele,  or  at  times  she  is  in  the 
act  of  tying  a  taenia  on  it  (e.g.  IV  I,  22;  V,  55;  VI  I,  1 1).  More  com- 
monly she  brings  her  basket  of  offerings  to  the  grave,  or  holds  out 
toward  the  stele  a  vase  or  a  taenia.  Two  gestures  of  the  hand  without 
such  offering  occur  again  and  again.  The  hand,  ordinarily  the  right 
hand,  is  often  extended  toward  the  stele  horizontally,  as  if  to  touch  it 
(V,  23,  24;  VI  i,  14,  16,  i6a,  19,  23,  etc.).  This  gesture  may  sym- 
bolize a  desire  to  get  in  touch  with  the  stele  (or  the  person  on  the 
opposite  side  of  the  stele);  when  the  thumb  and  index  finger  are 
together,  it  is  more  probable  that  they  held  some  object  which  now 
has  disappeared.  Again,  the  hand  may  be  slightly  raised  from  the 
side,  with  the  palm  down  (e.g.  V,  17,  55,  56,  71;  VI  I,  4,  5,  19,  24, 
25;  VI  2,  5);  the  meaning  of  this  gesture  is  not  clear,  though  it  may 
be  copied  from  the  hand  holding  a  garment  skirt  (III,  3;  V,  46)  in 
the  painter's  desire  to  secure  variety. 


352  ATHENIAN   WHITE   LEKYTHOI 

The  same  restraint  which  marks  Greek  grave  reliefs  is  a  characteris- 
tic of  most  of  these  scenes  at  the  grave.  In  a  few  instances,  however, 
the  grief  of  the  mourners  finds  free  expression.  One  woman  wipes  the 
tears  from  her  eyes  (V,  20);  others,  both  men  and  women,  raise  the 
hand  to  the  head  in  grief,  or  actually  tear  the  hair  (III,  59;  V,  14,  15, 
83;  VI  i,  3,  15,  17;  VII  i,  10,  17,  18;  VII  2,  19,  20;  VIII  2,  9,  21); 
and  twice  a  woman  kneels  and  tears  her  hair  (VII  2,  18;  VIII  i,  10). 
The  scene  of  mourning  was  no  doubt  quite  as  common  as  the  scene 
of  simple  worship  at  the  grave;  that  it  is  seldom  found  on  lekythoi  is 
due  to  the  preference  of  painter  and  buyer  for  the  more  dignified 
representation  of  worship. 

Where  the  scene  at  the  grave  includes  two  figures  (Classes  IV,  V, 
and  VI),  both  may  be  women,  or  very  often  one  is  a  man.  As  a  rule 
the  figures  are  general  types  to  which  it  is  impossible  to  assign  a  par- 
ticular meaning,  the  more  impossible  because  they  are  copied  again 
and  again  with  but  little  variation.  The  schema  of  mistress  and 
maid,  however,  is  often  followed;  less  commonly  we  might  assume 
that  two  sisters,  or  a  brother  and  sister,  are  represented,  and  it  seems 
reasonable  to  interpret  the  aged  man  with  hand  on  his  staff  as  a  father 
(VI  i,  9,  13).  Where  there  is  some  indication  of  a  connection  between 
the  two  figures  (e.g.  V,  27,  52,  82,  and  ordinarily  in  VI  i),  some  such 
explanation  may  be  reasonably  offered.  One  of  the  more  common 
groups  in  Classes  V  and  VI,  as  in  later  classes  with  drawing  in  dull 
color,  consists  of  a  woman  bringing  her  offerings  and  a  youth  with 
the  chlamys,  petasos,  and  spears  of  an  ephebos.  On  a  lekythos  in 
the  British  Museum,  which  is  unique  in  that  the  name  of  one  person 
is  added  (IV  I,  30),  we  have  illustrated  the  meeting  of  Orestes  and 
Electra  at  their  father's  grave.  Such  a  scene  might  suggest  that  on 
other  vases  of  this  type  the  ephebos  is  a  chance  traveller,  attracted  to 
watch  the  ceremonial  at  the  grave;  but  while  the  scene  may  have 
originated  with  some  such  meaning,  it  is  hardly  safe  to  assume  that 
the  painters  continued  to  reproduce  it  with  so  definite  a  thought  in 
mind.1 

One  peculiarity  of  the  stele  scenes  has  already  been  noted,  espe- 
cially in  Class  VI  i,  namely,  the  presence  of  the  stele  in  scenes  where 
it  does  not  properly  belong.  So  the  procession  to  the  grave  (VI  1,5), 
and  the  preparation  at  home  to  visit  the  grave  (V,  9),  are  in  a  way 
transformed  into  scenes  at  the  grave  itself.  The  woman  bringing  a 
helmet  to  her  husband  (VI  i,  20),  the  old  scene  of  libation  at  a  war- 

1  Cp.  the  discussion  by  Pettier,  L'ecythcs  blancs,  pp.  61—62. 


CONCLUSION  353 

rior's  departure  (V,  28;  cp,  69-71;  VI  I,  8),  the  presentation  of  tablets 
to  a  departing  warrior  (VI  I,  6),  even  the  hare-hunt  (VI  I,  i)  and  the 
charging  warrior  (VII  2,  i),  all  become  scenes  at  the  grave  by  the 
addition  of  a  stele  to  the  simple  scene.  The  noteworthy  feature  is  that, 
while  the  lekythos  maker  feels  that  a  stele  is  necessary,  he  combines 
it  with  other  scenes,  some  of  which  have  a  personal  reference  to  the 
life  of  the  deceased  person. 

Whether  the  deceased  person  is  often  to  be  sought  among  the  two 
figures  on  the  lekythos,  is  another  question  to  which  reference  has 
several  times  been  made.  The  presence  of  the  dead  body  is  clear  in 
three  cases  (V,  16;  VI  I,  2-3),  and  the  soul  of  a  dead  person  is  also 
found  (V,  70  and  Charon  scenes).  It  is  possible  to  regard  the  ephebos, 
who  stands  by  the  stele  and  seems  to  have  no  part  in  the  worship 
(e.g.  V,  67-71),  as  himself  the  person  to  whom  that  worship  is  brought, 
but  this  must  remain  mere  conjecture.  In  the  Charon  scenes  the  dead 
person  is  present  in  his  own  form,  closely  draped  as  for  a  journey; 
from  this  analogy  it  may  be  argued  that  the  draped  figure  beside  the 
stele  (V,  5,  29,  59,  80;  VI  i,  7,  15;  VI  2,  12)  was  intended  to  represent 
the  dead  in  the  same  aspect.  On  the  other  hand,  a  nude  figure  occurs 
occasionally  (e.g.  V,  53,  73;  VI  i,  4,  10),  and  the  simplest  interpreta- 
tion of  this  "heroic  nudity"  is  that  the  artist  was  representing  the 
dead  man  or  perhaps  some  statue  of  the  dead  man.1  If  this  interpre- 
tation be  accepted,  it  will  be  necessary  to  distinguish  carefully  those 
cases  in  which  a  garment  once  present  has  now  faded.  For  example, 
a  nude  woman  is  found  occasionally  (e.g.  V,  25;  VI  I,  10,  233),  but 
an  examination  of  these  vases  leads  to  the  opinion  that  the  chiton, 
originally  painted  in  a  dull  color,  has  disappeared.  The  presence  of 
the  nude  woman  bringing  offerings  to  the  grave  would  indeed  be  diffi- 
cult to  explain,  though  it  is  not  strange  that  the  dead  person  who  re- 
ceives the  offerings  should  be  thus  represented. 

The  offerings  themselves  are  quite  varied.  Roughly,  they  may  be 
classified  as  objects  for  the  use  of  the  dead,  and  as  objects  used  in 
ritual,  though  no  sharp  line  divides  the  two  classes.  The  first  class 
includes  the  helmet  brought  to  the  tomb  of  a  warrior  (VI  I,  2,  20), 
the  kalathos  and  diphros  on  a  woman's  tomb  (V,  59),  the  lyre  and  the 
casket  (V,  4),  and  perhaps  the  tablet  brought  to  the  tomb  (VI  I,  10, 
cp.  6;  VII  I,  21).  It  might  include,  also,  food  (an  egg,  V,  10;  fruit 
and  cakes  in  basket),  libations  to  drink  (oinochoe,  V,  4;  hydria,  V,  4, 
9;  VI  I,  25;  kantharos,  V,  4),  and  objects  for  the  toilet  (smegmato- 

1  There  seemi  little  doubt  that  we  ire  dealing  with  such  *  Matuc  on  VI  1,13. 


354  ATHENIAN   WHITE   LEKYTHOI 

theke,  e.g.  VIII  i,  13).  The  use  of  some  of  these  objects,  such  as  the 
casket  and  the  smegmatotheke,  might  be  contested;  still,  the  presence 
of  the  casket  on  the  grave  stele  indicates  that  it  was  itself  an  offering 
to  the  dead,  not  merely  a  receptacle  in  which  offerings  were  brought, 
and  the  frequent  appearance  of  the  smegmatotheke  in  gynaikeion  scenes 
leaves  no  real  doubt  that  it  was  essentially  a  vase  for  use  in  the  toilet. 

Some  of  these  same  objects,  the  casket,  the  oinochoe,  the  lyre,  were 
undoubtedly  used  in  ritual  at  the  grave.  The  commonest  object  of 
ritual  was  the  taenia  or  fillet;  it  seems  to  have  had  the  same  meaning 
here  as  in  the  worship  of  the  gods,  whatever  that  meaning  may  have 
been,  and  after  being  held  out  before  the  grave  it  was  attached  to  the 
shaft  of  the  stele  or  laid  on  the  tumulus.  The  lekythos  was  used  to 
bring  perfume,  the  alabastron  to  bring  oil,  and  both  vases  might  be 
attached  to  the  grave  monument.  Wreaths  are  often  seen  on  baskets 
of  offerings  (e.g.  IV  3,  20-21);  their  occasional  presence  on  the  stele 
has  already  been  noted.  A  flower  also  (V,  15;  VII  I,  15)  may  be 
presented  at  the  grave.  The  use  of  the  torch  (VII  2,  24)  probably 
means  only  that  offerings  might  be  brought  at  night.  Ordinarily  these 
offerings  for  the  tomb  were  brought  in  a  large  flat  basket  (kanoun  or 
kanistron};  perhaps  a  closed  casket  was  sometimes  used  for  this  pur- 
pose as  well  as  a  deep  basket  with  handle  (sitla?,  VII  2,  42;  VIII  I, 
8a). 

It  has  often  been  remarked  that  on  lekythoi  there  is  found  abso- 
lutely no  allusion  to  animal  sacrifice  at  the  grave.  Such  negative  argu- 
ments certainly  do  not  prove  that  sacrifices  were  not  offered  to  the 
dead  in  Athens  during  the  fifth  and  fourth  centuries  B.C.;  at  the  same 
time  there  is  every  reason  to  think  that  normal  worship  at  the  tomb  was 
of  a  much  simpler  character.  The  objects  used  primarily  in  ritual 
suggest  the  most  natural  methods  of  doing  honor  to  the  dead;  and  the 
objects  which  seem  to  be  for  the  use  of  the  dead,  whether  placed  in 
the  tomb  or  brought  to  the  grave  monument,  indicate  that  the  wants  of 
the  dead  were  conceived  as  practically  identical  with  the  wants  of  the 
living. 

The  thought  of  the  dead,  which  is  expressed  in  the  scenes  on  these 
lekythoi,  is  quite  in  harmony  with  what  is  learned  from  other  sources. 
The  different  types  of  scene  are  indeed  more  varied  than  on  Athenian 
grave  reliefs.  The  common  scene  at  the  grave  is  significant  in  that 
the  very  stele,  itself  the  recipient  of  worship  brought  to  the  dead,  was 
no  doubt  regarded  as  more  than  a  monument  to  mark  the  place  of 
burial;  if  not  the  abode  of  the  soul  of  the  dead,  it  was  at  least  the 


CONCLUSION  355 

tangible  object  to  which  the  survivors  must  bring  the  tokens  of  their 
grief  and  their  love.  The  Charon  scene,  the  closely  draped  figure 
beside  the  stele,  perhaps  the  tablet  message  at  the  stele,  recall  the  fact 
that  death  is  a  departure  to  another  sphere  of  existence.  The  little 
flying  figure  ("soul")  cannot  but  recall  the  unsubstantial  character 
attributed  to  this  kind  of  existence.  Yet  all  the  emphasis  seems  to  be 
laid  on  the  belief  that  the  dead  are  essentially  like  the  living.  The 
"statue-figures"  of  the  dead  on  lekythoi,  if  the  term  be  correct,  give 
a  sort  of  permanent  existence  to  the  type  of  life  which  had  characterized 
the  man  now  dead.  Not  only  food  and  drink,  but  objects  of  the  toilet 
as  well,  are  brought  to  the  grave  for  his  use.  The  hunter  and  the 
warrior  do  not  lose  interest  in  these  occupations  after  death.  The 
mother  and  her  child  still  are  pictured  together  after  the  mother's 
death,  for  death  has  power  to  remove  a  man,  to  transform  him,  but  not 
to  sever  the  social  and  family  ties  which  have  made  up  so  much  of  his 
life.  This  intimate  relation  between  the  dead  and  the  living,  both  in 
nature,  in  ties,  and  in  forms  of  activity,  is  seen  to  be  a  part  of  popular 
belief  in  the  Athens  of  the  fifth  century  B.C. 


INDEXES 


LIST  OF  ILLUSTRATIONS 


FIG.    j  p.  10 
2  p.  10 
3  P-  10 
4  p.  10 
5  P-  10 
6  p.  ii 

7  P-  ii 
8  p.  ii 

9  P-  ii 
10  p.  ii 
ii  p.  ii 

12   p.    II 
13  P-    13 
14   P-    13 
IS   P-    13 

16  p.  13 

17  P-  17 
1  8  Class  I,  3 

19  P-  27 
I,   i  Class    II,  5, 

FIG.  20  Class  II,  i                   FIG.  39  Class  IV  3,  4 
21             II,  12                          40            IV  3,  19 
22              II,  16                         41            V,    i 
23              II,  19                           42             V,    4 
24  P-  59                                       43            V,    10 
25  Class  III,  9                            44            V,    17 
26             III,  12                          45             V,    20 
27             III,  24                          46            V,    26 
28             III,  31                           47            V,    43 
29             HI,  43                          48            V,    45 
30             HI,  55                          49            V,    48 
3i             HI,  59                         5°            V,   59 
32            IV    i    3                       51            V,   62 
33            IV    i    10                     52            V,    69 
34            IV    i    13                     53            VI    i,  15 
35             IV    i    19                      54             VI    i,  22 
36            IV  2   8                       55            VII  2,  26 
37            IV   2    ii                     56            VII  2,  27 
38            IV  3  2                       57            VIII  i,  4 

PLATES 
Athens  1827                       IX,  i  Class  V,  35          Worcester 

2 

1,4, 

Athens  1809 

2 

VI  1,6 

Athens  1761 

3 

I,  8, 

Boston  8374 

x, 

I 

V,  48a, 

New  York  06, 

1171 

II, 

i 

I,  7, 

Naples  S.  A.  99 

2 

VII  2,  i, 

New  York  06, 

1021, 

2 

"I,  3, 

Louvre  MNC  650 

"7 

III, 

I 

III,  4, 

Louvre  MNB  909 

3 

VI  i,  238, 

New  York  06, 

1021, 

2 

IV  2,  3 

Syracuse  18997 

137 

IV 

III,   43 

New  York  06,  1070 

XI 

V,  65, 

Boston  6544 

v, 

I 

IV  i,  28 

Athens  1913 

XII 

VI  i,  10, 

Boston  8440 

2 

IV  2,  10, 

Athens  2032 

XIII 

VI    i,  9, 

Boston  7192 

VI 

V,  5, 

Boston  9069 

XIV, 

i 

VIII    2,    I, 

Boston  7615 

VII 

V,  8, 

Boston  6545 

2 

VI  i,  25, 

Munich  2170 

VIII, 

I 

V,  54, 

Athens  1960 

3 

VII  i,  2, 

Athens  1859 

XV 

V,  53, 

Athens  1822 

4 

VII    2,  10 

Karlsruhe  2663 

VIII, 

2 

V,  38, 

Madrid  11189 

XV 

V.53, 

Athens  1822 

357 


II 


LIST  OF  PUBLISHED  LEKYTHOI  DISCUSSED  IN  THIS  VOLUME 

American  Journal  of  Archaeology 
II  (1886) 


pi.  x  and  xii 

I       VIII    2,    26 

3    VII   2,  3a 

4     HI,  ?o 

6     VIII    i,  8a 

xi 

VI   i,  8 

p.  410 

V   1,3 

VI  (1902) 

Annali  dell'  Institute 

XIV  (1842)     Tav.  L        V,  73 

A  rchaeologische  Zeitung 
(1880)     Taf.  xi        V,  13 
Athenische  Mittheilungen 

XV  (1890)      Taf.  i          IV  3,  21 

XVI  (1891)     S.  389          II,  19 

Taf.  x,  2     II,  2 

XVII  (1892)  Taf.  i,  i      VII  2,  5 

5      I",  i? 


Benndorf,  Griechische  und  Sicilische  Vasenbilder 


Taf.   xviii   2 
xix      i 

2 

3 

4 
5 


xx 
xxiii 


V,  57 
VIII  i,  9 
VII  2,  28 

III,   2 

VII  i,  14 

VII    2,    29 

V,  28 

VI    I,    21 

n,  is 


Taf.   xxiv 


xlvi 


1  VII   2,    19. 

2  VII    I,    IS 

3  VII  2,  18 

4  VI  i,  ii 

1  V,  7 

2  VII   2,    6 

3  I",  25 
i  V,  75 
3  V,  76 


Banner  Studien,  1890 


Taf.  xi 


V,   40 
VI  i,  13 
V,    49 


Bulletin  de  correspondence  hellenique 

XXII  (1898)  p.   417     I,  2 
419     I,  i 

Burlington  Fine  Arts  Club 

Catalogue  of  Exhibition  in  1888,    no.  51  IV  2,  12 

no.  120  VI  i,  10 

no.  135  II,  23 

Catalogue  of  Exhibition  in  1904,   no.  H  25  VII  2,  a6a 

H  34  V,  71 

H  35  II,  7 

Daremberg-Saglio,  Dictionnaire  des  antiquites 

fig.  2680     II,  17 
Dumont-Chaplain-Pottier,  Les  ceramiques  de  la  Grece  propre 


pi.  xi,  i     I,  4 

2  III,  i 

3  I",  42 


pi.  xxxv       V,  25 
xxxvii     IV  3,  29 


358 


INDEX   II  359 


(1886)       pi.  iv        VI  I,  1  4 
(1905)  i         IV  2,  na 

Froehner,  Deux  peintures  de  vases  grecs,  1871 

pi.  i     III,  60 
Furt\\  angler,  Sammlung  Sabouroff 

Taf.  lx,    i     VI  2,  8 
2     VI  2,  9 

Furtwangler,  Sammlung  Somzee 

Taf.  xxxix     IV  2,  12 

E.  Gardner,  Catalogue  of  Greek  Vases  in  the  Fitzwilltam  Museum 

pi.  xxx,  2     I,  9  pi  xxx,  i     IV  3,  i 

P.  Gardner,  Catalogue  of  the  Greek  Vases  in  the  Ashmolean  Museum 

pi.  xx      V,  33  pi  xxi     IV  2,  13 

xxi     IV  i,  29  xxv     II,  3 

Gazette  des  Beaux-Arts 

1866  II  p.  118     IV  i,  27 

Gazette  archeologique 

(1885)  pi.  xxxi  VI  2,  5  pi.  xxxii,  2     II,  18 

xxxii,  2     VII  i,  4  xxxii,  3     VI  i,  20 

Heydemann,  Drittes  hallisches  Winckelmannsprogramm 

Taf.  i,   3     VII  i,  i 
4     VII  2,  3 

Heydemann,  Griechische  Vasenbilder 

Taf.   v,  2     II,  15 

viii  IV  3,  29 

ix  3     HI,  75 

Jahrbuch  des  archaeologischen  Instituts 

II  (1887)  S.  163  II,  17 

Taf.  i  IV  i,  18 

VIII  (1893)  Arch.  Anz.  S.  92,  54  VI  i,  12 

XIII  (1898)  Arch.  Anz.  S.  192,  9  V,  44 

192,  10  V,  58 

Journal  of  Hellenic  Studies 

XII    (1892)    pi.  xiv  V,  46 

XV  (1895)    pi.  v  III,  22 

XVI  (1896)    fig.  2  IV  3,  7a 

fig-  5  IV  3.  15 

pi.  iv  IV  3,  6 

pi.  v,  fig.  3-4  IV  3,  nos.  9,  10,  12 

pi.  vi,  fig.  i  IV  3,  13 

pi.  vu  IV  3,  7 

XIX  (1899)    fig.  i  V,  54 

fig-  2,  4  VI  i,  5 

fig.  3  VI  i,  4 

fig.  s  Palmettes,  V,  d 

fig.  6  V,  7 


360  INDEX   II 

fig.  7  VI  i,  7 

fig.  8  V,  85 

pi.  ii  V,  22 

pi.  iii  VI  i,  5 

XXV  (1905)     p.  75  VII  2,  TOE 

p.  76  IV  2,  6 

Klein,  Griechische  Vasen  mil  LieUingsinschriften  (Auf.  2) 

%•  35     IV  3,  3  fig.  42     V,  33 

4i     IV  3,  13  45     V,  36 

de  Luynes,  Description  de  quelques  vases  peints 

pi.     xvi        I,  6 

xvii       VII  2,  15 
xviii      VII  2,  42 

Murray,  White  Athenian  Vases  in  the  British  Museum 


pi.  i       V,  50 

pi.  xi 

VI   I,   2 

pi.  xxiv 

V,  78 

ii     V,  36 

xiii 

VI   2,    12 

xxv  B 

III,    22 

iii     V,  46 

xiv 

II,    22 

xxvi  A 

11,4 

iv     V,  34 

xxi  A 

IV  i,  14 

xxvi  B 

V,  67 

vi     V,  70 

xxii 

IV  2,    2 

xxvii 

V,  9 

v      VI  i,  i 

xxiii 

IV   I,    II 

viii  IV  i,  17 

xxiii  A 

in,  15 

Pellegrini,  Vasi  dipinti  delle  collezioni  Palagi  ed  Universitaria,   1900 

Tav.  ii      V,   45 
iii     VI  2,  7 

Politi,  Sette  vasi  greco-sicolo-agrigentini 

Tav.  ii     III,  10 

ii     III,  ii 

1   ii    III,  1 8 

Rayet-Collignon,  Historic  de  la  ceramique  grecque 
fig- 83       I,    4 

pi.   X,    I       II,    21 

De  Ridder,  Catalogue  des  vases  peints  dans  la  bibliotheque  nationale 

pi.  xx     VII  2,  14 
Robert,  Thanatos,   1879 

Taf.  ii     VI  i,  2 
Romische  Mittheilungen 

II  (1887)  Taf.  xii,  5  V,  32 

XIII  (1898)  Taf.  iv  IV  3,  ii 

Smith,  Catalogs  of  Vases  in  the  British  Museum,  Vol.  Ill 

pi.  xxiii  IV  i,  13 

xxiv  i  III,  66 

xxiv  2  VII  i,  21 

xxv  IV    3,  22 

Stackelberg,  Graber  der  Hellenen 

Taf.  xxxviii     VIII  2,  6 
xl  V,  7 


Ill 


LIST  OF  LEKYTHOI  BY  MUSEUMS 


III, 


AACHEN 


ATHENS,  NATIONAL  MUSEUM 


III,  39b 


Collignon-Couve,  Catalogue  des  vases  pcints  du  Musee  national  d'Athenes,  1902 

NOTE.  —  The  vases  are  listed  under  the  exhibition  number,  and  the    catalogue  number    is 
added  in  parenthesis. 


1754  (1626) 

IV  3,  29 

1761  (1678) 

VI  i,  6 

1763  (1643) 

V,  2 

1779  (1781) 

VIII  i,  5 

1780  (1045) 

VII  2,  18 

1781  (1046) 

VII  2,  24 

1782  (1808) 

VIII  i,  7 

1783  (1047) 

VII  2,  la 

1784  (1027) 

III,  72 

1785  (1028) 

III,  27 

1786  (1029) 

I",  73 

1787  (1030) 

III,  74 

1788  (1031) 

HI,  75 

1789  (1681) 

V,  28 

179°  (i775) 

V,  27 

1791  (1026) 

II,  15 

1792  (1019) 

II,  2 

1793  (1032) 

III,  71 

1794  (1033) 

VIII  2,  17 

1797  (1684) 

V,  25 

1803  (1051) 

VII  2,  38 

1804  (1627) 

IV  i,  9 

1806  (1021) 

III,  65 

1807  (1038) 

III,  20 

1808  (1042) 

VII  I,  20 

1809  (1025) 

1,4 

i8is  (1689) 

VI  r,  14 

1818  (1837) 

V.49 

1819  (1805) 

VI  2,  I 

1820  (1728) 

VI  2,  2 

1821  (1698) 

V,  69 

1822  (1700) 

V,  53 

1823  (1838) 

V,  62 

1825  (1632) 

IV  3,  21 

1826  (1641) 

IV  i,  25 

1827  (1023) 

n,  5 

1828  (1020) 

ii,  17 

1829  (1637) 

in,  76 

1838  (1714) 

V.57 

1842  (1816) 

VI  i,  23 

1843  (1701) 

VI  I,  22 

1844  (1638) 

IV  i,  24 

1845  (1635) 

IV  2,  8 

1846  (1639) 

IV  3,  5 

1847  (1634) 

IV  3,  2 

1856  (1843) 

V,  77 

1857  (1022) 

III,  21 

1858  (1014) 

III,  I 

1859  (1048) 

VII  I,  2 

1860  (1017) 

VII  i,  3 

1861  (1043) 

VII  i,  17 

1862  (1800) 

VIII  2,  28 

1863  (1774) 

VIII  2,  12 

1864  (1832) 

VIII  2,  24 

1865 
1866 
1867 
1868 
1870 
1871 
1872 

1873 
1874 

1875 
1876 
1879 
1880 
1882 
1883 
1884 
[885 
1886 
1887 
1889 
1903 
1904 
1905 

1906 
1912 

1913 
1915 
1918 

1921 
1922 

1923 
1928 
1929 
1932 
1935 
1940 
1942 
1943 
1945 
1953 
1958 

1959 

1960 

1963 
1964 

1965 
1966 
1968 
1970 
1972 
1973 
1975 
1978 

1979 

361 


(1636) 
(1804) 

(1041) 

(1725) 
(1044) 
(1050) 
(1049) 
(1052) 
(1037) 
(1040) 

(1053) 
(1036) 

(1724) 
(1034) 
(1024) 

(1056) 

(1039) 

(1055) 
(1640) 

(1054) 

(1824) 

(1073) 
(1074) 

(1076) 
(1648) 
(1647) 

(1072) 
(1075) 
(1649) 

(1630) 
(1629) 

(1655) 
(1642) 
(1711) 
(1692) 
(1754) 
(1705) 

(1839) 
(1840) 
(1631) 
(1690) 
(1691) 

(1699) 
(1628) 
(1066) 
(1686) 

(1739) 
(1625) 
(1702) 
(1068) 
(964) 

(1061) 
(1062) 
(1703) 


IV  i,  21 

VIII    2,    25 

VI  3,  i 

VIII    2,    IS 

IV  i,  8 

VII  2   43 
VII  2 
VII 


44 
7 


19 
15 


III,  29 
VII 

VII  .    , 
III,  48 

VIII  2,  16 

HI,  35 
III,  78 
VII  i,  6 

VII  i,  14 

VIII  2,  7 
IV  x,  i 
VIII  2,  23 
VII  i,  40 

VII  2,  21 

VIII  1,3 

11,9 
IV  2,  7 
IV  i,  28 
VII  i,  16 
III,  69 
IV  i,  10 
IV  3,  9 
IV  3,  « 
VI  i,  3 
IV  2,  14 
VI  1,4 
V,  22 
VI  2,  6 
V,  82 
V,  63 
V,  64 

rv  i,  20 

V,   20 
V,   21 

V,  54 
IV  3.  10 
II,  1 6 

VI  2,  3 
M  .'.  13 
IV  i,  3 
VI  3,  3 

IV  I,   22 

I.  ; 

II.  10 

III.  f.2 

VI  3,  a 


362 


INDEX   III 


1980  (1748)  V,  55  2023  (1018)  III,  2 

1981  (1704)  V,  85  2025  (1060)  VII  i,  13 

1982  (1067)  IV  3,  20  0226  (1015)  VIII  i,  9 

1983  (1065)  IV  3,  30  2029  (1058)  VIII  2,  13 

1984  (1064)  III,  61  2030  (1059)  VII  2,  13 

1985  (1747)  VI  3,  4  2031  (1057)  VIII  2,  14 

1986  (1071)  VII  i,  18  2032  (1633)  IV  2,  10 

1987  (1645)  IV  2,  9  2033  (1069)  III,  64 

1988  (1063)  III,  63  2035  VI  i,  16 

1990  (1744)  VIII  i,  2  2036  (1070)  VII  2,  35 

1991  (1745)  VI  3,  6  2395  VII  i,  5 

1992  (1740)  VI  2,  4  2540  (1646)  IV  i,  16 

1993  (i74i)  VI  i,  15  11730  VI  3,  5 

1996  (1650)  IV  i,  4  12771  IV  2,  na 

1997  (1644)  IV  3,  25  Case  71  VII  i,  8,  12,  21 
2022  (1016)  III,  77 

BERLIN,  ANTIQUARIUM 
Furtw angler,  Beschreibung  der  Vasensammlung  im  Antiquarium,  1885 

2245  III,  36  Inven.  3160  VI  i,  7 

2246  VII  2,  31  3171  V,  3 

2247  VII  i,  ii  3175  IV  2,  ii 

2248  VII  2,  6  3245  VI  i,  12 

2249  II,  6  3262  V,  4 

2250  I,  3  3276  IV  3,  24 

2251  III,  25  3291  VI  i,  5 

2252  V,  13  3312  II,  ii 

2443  IV  3,  7  3338   II,  14 

2444  V,  i  3383   V,  17 

2445  v»  J4  397°   V,  44 

2446  V,  15  3383   VII  2,  29 

2447  V,  1 6 

2448  VI  i,  ii 

2449  VI  2,  8 

2450  VI  2,  9 

BOLOGNA,  MUSEO  Civico 

Catalogo  dei  vasi  antichi  dipinti  delle  collczioni  Palagi  ed  Universitaria,   1900 

354  VII  2,  16  360  VII    i,  10 

355  VII  2,  3  361  VIII  2,  30 

356  VII  i,  i  362  V,  45 

357  HI,  45  363  VI  2,  7 

358  HI,  43  368  VI  i,  17 

359  VIII  2,  4 

BONN,  AKADEMISCHES  KUNSTMTJSEUM 
IV  3,  6  V,  4o  VI  i,  13 

BOSTON,  MUSEUM  OF  FINE  ARTS 
Robinson,  Catalogue  of  Greek,  Roman,  and  Etruscan  Vases,  1893 

448  IV  3,  15  Inven.    6544     V,  65 

449  V,  68  6545     V,  8 

450  VI  i,  8  7192     VI  i,  9 

7615  VIII  2,  i 

8374  I,  8 

8440  VI  i,  10 

9069  V,  5 

CAMBRIDGE,  FITZWILLIAM  MUSEUM 
E.  Gardner,  Catalogue  of  Greek  Vases  in  the  Fitzwilliam  Museum 

133     I,  9  142     VII  2,  22 

138     IV  3,  i  i42a     HI,  20 


INDEX  III  363 

CHICAGO,  ART  INSTITUTE 
IV  3,  3  V.  72 

COPENHAGEN,  MUSEUM 

S.  Birket  Smith,  De  malede  Vaser  i  Antikkabinettet  i  Kjobenhavn,  1862 

132     III,  44  133     III,  37 

CORNETO,  MUSEUM 

316      III,  24 
DRESDEN,  ALBERTINUM 

370      III,  30  III,  52 

1028    III,  26  V,  42 

GlRGENTI,   MUSEO   ClVICO 

(Case  IV,  22)     III,  8 
ITHACA,  CORNELL  UNIVERSITY 

V,  26 

LEYDEN,  MUSEUM 
Janssen,  De  Grieksche,  Romeinsche  en  Etrurische  Monumenten  van  het  Museum  te  Leyden,  1843 

555  V,  23  1915     III,  47 

556  V,  24 

LONDON,  BRITISH  MUSEUM 
C.  H.  Smith,  Catalogue  of  the  Greek  and  Etruscan  Vases  in  the  British  Museum,  III,  1896 

B  633  III,  60  D  41  VII  2,  36 

D  19  IV  2,  i  D  42  III,  68 

D  20  IV  2,  2  D  43  VII  2,  34 

D  21  IV  i,  17  D  44  VIII  2,  22 

D  22       II,   22  D  45       VIII    2,    21 

D  23  II,  4  D  46  III,  49 

D  24  IV  i,  ii  D47  IV  3,  22 

D  25  IV  i,  12  D  48  V,  36 

D  26  IV  i,  14  D  49  V,  37 

D  27  III,  15  D  50  IV  3,  13 

D  28  III,  58  D  51  V,  46 

D  29  III,  66  D  52  V,  78 

D  30  III,  56  D  53  V,  34 

D  3x  Ill,  14  D  54  V,  70 

D  32  III,  51  D  55  V,  67 

D  33  IV  i,  30  D  56  VI  2,  12 

D  34  VIII  i,  i  D  57  V,  50 

D  35  VIII  2,  6  D  58  VI  i,  a 

D  36  VII  2,  37  D  60  VI  i,  i 

D  37  VII  2,  8  D  65  V,  9 

D  38  VII  i,  21  D  76  III,  22 

D  39  VIII  2,  9  D  87  V,  51 

D  40  VII  2,  2  IV  i,  7 

LONDON,  VICTORIA  AND  ALBERT  MUSEUM 

2864,  53      VIII  2,  10 

MADRID,  MUSEO  ARQUELOGICO 

V,  6  11189      V,  38 


364  INDEX   III 

MUNICH,  ALTE  PINAKOTHEK 
O.  Jahn,  Beschreibung  der  Vasensammlung  Konig  Ludwigs  in  der  Pinakothek,   1854 

198  VII    2,    30  222        VII    2,    41 

199  III,  55  224     VIII  i,  13 

200  vin  2, 29  225   viii  2,  8 

201  VII   2,    17  245       III,   9 

202  VIII    2,    II 

209  V,  7  (1583)  VIII  2,  3 

2oga  VIII  2,  31 

2ogb  VIII  2,  32  Inven.    2170  VI  i,  25 

2096  VIII  i,  14  V,  10 

NEW  YORK,  METROPOLITAN  MUSEUM 

1822  VII  2,  33  06,  102 1,  124  III,  42 

1824  III,  70  06,  1021,   127  VII  2!  i 

(601)  VIII  i,  8a  06,  1021,   134  IV  3,  4a 

(602)  VIII  2,  26  06,  102 1,  137  VI  i,  23a 

06,   1070  III,  4a 

06,  1075  VI  i,  i6a 

06,  1171  V,  48a 

NAPLES,  MUSEO  NAZIONALE 
Heydemann,  Die  Vasensammlungen  des  Museo  Nazionale  zu  Neapel,  1872 

2431  VIII  2,  5  2763         III,  12 

2432  III,  23 

2433  V,  12  SA  99      I,  7 
2438  I,  i  SA  122     IV  3,  4 
2440  III,  67 

OXFORD,  ASHMOLEAN  MUSEUM 
P.  Gardner,  Catalogue  of  the  Greek  Vases  in  the  Ashmolean  Museum,  1897 

264  VII  2,  12  2(x)\>  III,  34 

265  II,  3  2690  V,  49a 

266  V,  33  545  V,  56 

267  IV  2,  13  547  VII  2,  zoa 

268  IV  i,  29  548  IV  2,  6 

269  III,  57  549  IV  2,  5 

PALERMO,  MUSEO  NAZIONALE 

147  IV  i,  15 

160  II,  13 

(Selinunte  room)     III,  5a 
(Case  48)  III,  i8a 

IV  2,  15 

PARIS,    BlBLIOTHEQUE    NATIONALE 

De  Ridder,  Catalogue  des  vases  peints  de  la  bibliotheque  nationale,  1902 

(299)  I,  6  497  VII  2,  42 

494  II,  18  498  VII  2,  14 

495  VII  2,  32  501  VII  2,  20 

496  VII  2,  15  502  VI  i,  20 
496bis  VII  i,  4  504  VI  2,  5 

PARIS,  LOUVRE 

CA  9          IV  i,  2  ..  II,  21 

CA  599       II,  i  ..  Ill,  38 

L  34    '        HI,  54  .  -  HI,  39 

LEG  IV  3,  16  ..  VII  2,  28 

MNC  650  III,  3  . .  VIII  2,  2 
MNC  909  III,  4 


INDEX   III  365 

ROME,  MUSEO  ARTISTICO  INDUSTRIALE 

IV  3,  ii 
SYRACUSE,  MUSEO  ARCHEOLOGICO 

2288  IV  3,  17  19900  IV  2,  4 

2289  IV  i,  6  21146  IV  i,  5 
12952  IV  3,  23  22879  IV  3,  18 
19706  III,  38a  22951  III,  79 
19897  IV  2,  3  23949  III,  80 

Ill,  16 

TARENTUM,  MUSEUM 

IV  3,  26  IV  3,  27 

VIENNA,  HOFUUSEUM 

621  VI  i,  19 

650  II,  8 

651  III,  50 
Inven.  1873  V,  48 

1874  IV  i,  13 

VIENNA,  OESTERREICHISCHES  MUSEUM  FUR  KUNST  UNO  INDUSTRIE 
Masner,  Die  Sammlung  antiker  Vascn  und  Tcrracotten  im  k.  k.  oesterreichischen  Museum,  1892 

1087  V,  43  1090     IV  i,  19 

1088  V,  59 

WORCESTER,  ART  MUSEUM 
V,  35 


IV 


INDEX  OF  NAMES,  OBJECTS,  ETC. 


abbreviations  of  scenes,  35,  50,  57,  63,  81,  89, 
113,  173-4. 

for  kylix  interior,  50,  57. 

from  kylix  exterior,  63,   103. 
academic  series,  214  f.,  238,  263,  285. 
acanthus  ornament,  296,  330. 
accessories,  purpose  of,  112,  125,  142,  177   194. 

in  field,  238. 
Achilles,  205,  327. 
aegis,  80-3,  122. 
Aeneas,  247. 
air-hole,  221,  232. 
alabastron,  86,  96,  141,  152,  etc. 

inside  lekythos,  221. 
Alkimachos,  149,  215. 
altar,  32-40,  44,  61,  79,  85,  125. 

of  unhewn  stone,  127. 

with  blood,  78,  103. 

with  flame,  43,  45,  67,  74,  125,  126,  173, 

297. 

Alxenor  stele,  257. 
Amasis,  17,  49,  117. 
Amazon,  175,  249. 

fixing  sandal,  130. 

raising  battle-axe,  131. 

type  in  paintings,  248. 
Amphiaraos,  departure  of,  183-4. 
Ananke,  60. 
anaxvrides,  130,  175. 
Anchises,  247. 

animal,  as  part  of  scene,  73. 
animal  frieze,  12,  25,  30. 
Anthesteria,  307. 
Apollo,  32,  33,  82,  171,  173. 

-"Adonis"  of  Vatican,  230. 

with  chlamys,  66,  82. 
apple,  54. 

archer  (Persian),  296. 
Aristophanes,  2. 
arm,  raised  under  garment,  135. 

bent  under  garment,  162,  189. 
arrow,  31,  250. 
Artemis,  37,  44,  51,  53,  61,  147. 

with  torch,  44  f. 
aryballos,  2,  9,  305. 
Athena,  54,  80,  83,  122. 

carrying  helmet,  81. 

"  Mourning  Athena,"  123. 

statue  of,  123. 
Axiopeithes,  149,  215. 

Bacchante,  see  "  scenes." 

bars,  row  of,  on  shoulder,  295,  302. 

basket,  47,  52,  132,  152. 

carried  on  head,  309. 

sacrificial,  172. 


367 


battle-axe,  175. 

bearded  man,  leaning  on  stick,  24,  26;  and  see 
"  scenes." 

with  wings,  99. 
bird,  73,  84,  145,  148,  199. 
black,  see  "  silhouette." 

black-figured  ware,  8,  9,  17,  22,  25,  34,  50,  58, 
63,  65,  72,  88,  115. 

scenes  from,  92,  etc. 
blue,  for  garments,  262. 
boat,  190,  262,  307. 
boots,  190,  208,  242,  276,  etc. 

winged,  305. 
Boreas,  99,  258. 
bow,  32,  44,  51,  106,  296,  etc. 
box,  105,  133,  155,  161,  etc. 

square,  for  use  at  tomb,  315. 
bracelet,  127,  141,  142,  etc. 
branch  with  scrolls,  83,  84,  87,  etc. 
brown  paint,  71. 
Brygos,  49,  75,  79,  130,  150. 
bucchero  ware  (Italian),  9. 
bull,  37. 
bush,  298,  299. 

Cadmus,  296. 

camel,  304. 

cane,  235,  240. 

cap,  Phrygian,  175,  249,  296. 

fur,  with  wings,  94. 
casket,  132,  322. 

black,  144,  239. 
castanets,  303. 
Chachrylion,  29,  31,  40,  116. 
chain-armor,  247. 
chair,  103,  129,  134,  155,  etc. 
Charon,  190,  191,  262,  307  f. 

types,  308. 

checkerboard-pattern,  13. 
chelys,  87. 
chest,  square,  128. 
child,    159,   183,   268,   278-9. 

carried  pick-a-back,  147 

dead,  200,  307. 
chiton,  peculiar  manner  of  wearing,  204. 

pink,  129,  133. 

short,  66. 

chlamys,  on  a  woman,  39. 
Chrysaor,  67. 
Chryse,  sacrifice  at,  81. 
Chrysothemis,  138. 
circles  on  base  of  tomb,  97,  203,  204  f.,  229, 

287. 

cithara,  173,  215,  220,  223,  286. 
cocks,  12,  24. 
cock-fight,  25. 


368 


INDEX   IV 


color,  development,  213,  245,  254. 

experiments    in,    72,     153,     166,    and    see 

"  dull  color." 
columns,  39,  122,  143,  170. 

black,  147. 

fluted,  87,  332. 

compasses,  used  in  drawing,  263. 
Corinthian  helmet,  31,  33,  79,  etc. 
corselet,  59,  261,  etc. 
couch,  97,  259. 
crow,  71,  142,  147,  162,  313. 
cuirass,  131,  258. 
cult-type,  46. 
cymbal,  125. 

dead  body  represented,  200,  257,  259,  307. 
dead  person,  represented,  189,   231,  233,   235, 
243,  266,  313,  329. 

idealized,  293. 
Death,  see  "  Thanatos." 
deer,  51. 

Demeter,  147,  174. 
Diitrephes,  32. 
Dionysos,  305. 

of  the  Terme  Museum,  230. 
Dioskouri,  97. 
Diotimos,  226. 
Diphilos,  148,  163,  223. 
diphros,  128,  141,  144,  etc. 

at  tomb,  193. 
distaff,  83. 
doe,  38. 
dog,  29,  38,  256. 

as  companion,  136. 

white,  135. 

Doric  capital,  on  stele,  214. 
Doric  chiton,  76,  80,  105,  122,  132,  etc. 
Doric  pillars,  54,  85,  87,  121,  142,  252. 
Douris,  28,  46,  51,  55,  57,  60,  73,  80,  88,  102, 

114. 

draped  figure,  212,  235,  251,  262,  270,  287,  etc. 
Dromippos  vase,  216. 
duck,  223. 

dull  color,  use  of ,  for  drawing,  8,  45,  179,  256, 
292. 

experiments  in,  114,  264,  291,  326. 

ear-rings,  103,  141,  152,  etc. 
egg,  167. 
Electra,  137  f. 
endromides,  130. 

double-topped,  64. 
engobe,  see  "white  slip." 
Eos,  30,  51. 
Epiktetos,  88,  102. 
Eros,  26,  84,  197. 
Euaion,  124. 
Eucheiros,  17. 
Euphranor,  230. 
Euphronios,  62,  93,  117,  269. 
Euthymides,  62. 
Exekias,  91. 
exomis,  262,  308. 
expression,  attempt  at,  64,  132,  148,  235,  262, 

300. 
eye,  17,  79. 

archaic,  44,  57,  84,  93,  125,  198. 

long,  71. 

on  boat,  190. 

on  shield,  227. 


profile,  88. 

pupil  of,  54,  239,  248. 
eyelashes,  209,  227. 

face,  not  drawn  in  outline,  258. 
fawn,  61,  173. 
feet,  62,  69. 

flat,  150  n,  185. 
female  head,  large,  88  f. 
fillet,  152,  157,  204,  etc. 

woollen,  269. 
flesh-pink,  122. 
flower,  104,  129,  134,  etc. 
flute,  double,  149. 
foliage,  205,  262. 

blue,  206. 

foot  (lekythos),  shapes  of,  n,  23. 
footstool,  197. 
Francois  vase,  62. 
fringe,  170,  247. 
fruit,  128,  135,  144. 

gestures,  of  fear,  304. 

of  mourning,  199,  203,  252,  259,  270,  etc. 

of  worship,  74. 

right  hand  raised,  167,  223,  226,  229,  233, 
etc. 

right  palm  down,  165. 

two  outstretched  hands,  148,  151,  154,  162, 

292,  etc. 
girdle,  220. 
glaze,  black,  12,  13. 

brownish,  thin,  55,  256  f. 

for  garments,  108. 

orange,  62,  323. 

two  kinds,  for  drawing,  158. 

used  for  outlines,  8,  19,  120. 

yellow,  61,  101,  158  f.,  194,  257,  294  f. 
Glaukon  vases,  32,  52,  57,  76,  102,  159. 
goat,  72. 
goose,  143,  224. 
Gorgons,  65. 
grapes,  268. 

grave  monuments,  143,  157,  160,  257. 
grave  mound,  286. 
grave  statue,  231,  267. 
grave  stelai,  Attic,  180. 
grave  vase,  53,  208-9,  3*5- 
gray,  61,  281,  etc. 
green,  251,  259,  270,  etc. 
gynaikeion,  see  "scenes." 

Hades,  192. 

hair,  treatment  of,  141-2,  154,  159,  163,  178, 
209,  264  f. 

"beaded,"  49. 

straight  in  front  of  ears,  136. 

tied  in  bag,  240,  etc. 
hands,  covered,  69,  84,  235,  304,  etc. 

delicate  drawing  of,  219,  274,  283. 
hare,  29,  256,  313. 
head,  shape  of,  194,  197,  211,  212,  246,  264, 

272. 

Hector,  184. 
Hegeso  stele,  144. 
Herakles,  63,  67,  115. 

in  scenes  of  sacrifice,  67. 
Hermes,  95,  138,  191. 

bearded,  124,  190,  284. 

Psychopompos,   190,   191,  284,  306. 


INDEX   IV 


369 


Hermogenes,  17. 

Hieron,  26,  38,  40,  49,  79,  88,  91,  117. 

him. it  inn,  draped  over  head,  185,   188,  191. 

hind,  32. 

hole  at  bottom  of  vase,  165. 

hori/ontal  i TOSS,  use  of,  55. 

horns  of  altar,  41,  335. 

horse,  33,  53. 

hunters,  see  "scenes." 

hydria,  48  f. 

broken  at  grave,  278-9. 
hydrophoria,  49,  115. 

Hygiainon  vases,   160,   166,   183,  214,  217  f. 
Hypnos,  257. 

Idolino,  230. 

incised  lines,  24,  34,  64,  263,  305. 

coarse,  for  details,  63. 
inscriptions,  77,  98,  178,  181. 

alphabet  unfixed,  154. 

date  of,  no. 

Gelan  (T-shaped),  151. 

Glaukon,  159. 

Hygiainon,  217  f. 

imitation,  24,  33,  37,  47,  57,  63,  etc. 

do.  in  field,  89. 

incised,  9. 

kalos,  85,  92,  93,  101,  104,  106,  124,  127  f., 
198. 

Lichas,  164. 

on  stele,  86,  194-5. 

stoichedon,  51,  52,  161. 

three  line,  159  f.,  215  f. 
Ionic  chiton,  85,  211. 
Ionic  column,  143,  170,  310. 
Iris,  74,  305. 
Iris-Nike,  41,  306. 
ivy  leaves,  on  neck,  168,  175. 

Jason,  296. 

kalathos,  77,  85,  94,  129,  133,  etc. 

kalpis,  124. 

kanistron,  207. 

kantharos,  67,  187,  305. 

Kephalos,  30,  51. 

kiTvkeion,  190,  191,  305. 

Klazomenae,  sarcophagus  from,  15,  16. 

Kore,  147,  174. 

Kresilas,  32. 

ky likes,  in  field,  266. 

interior  scenes,  50,  57,  60,  93,  112,  156,  160, 

161. 

kylix  painters,  73. 
Kyrene,  14. 

Laches,  305. 

landscape,  30,  256. 

laurel,  171. 

lekythoi,  Athenian  product,  4. 

black-figured,  9,  15,  19,  22,  etc. 

classification.  6,  19-21. 

Corinthian,  4.  85. 

date,  5,  88,  and  under  each  series. 

development,  6,  21  n. 

divided  by  horizontal  partition,  217. 

Euboean,  100. 

Italian,  72,  78,  196,  328. 

Locrian,  6,  7,  317. 

ornamental,  3. 


name,  i,  2,  defined,  6. 

process  of  making,  12,  212. 

proto-Corinthian,  9. 

provenance,  4,  22. 

range  of  export,  118. 

shape,  2  f.,  89,  100,  108,  145. 

development  of,  9. 

typical,   185. 

use,  i,  3,  58,  113,  117,  135,  181. 

with  only  conventional  decoration,   no. 
lekythos,  as  grave  monument,  208. 

represented  in  the  scene,  77,  106,  128,  132, 
134,  142,  152,  186,   187,  192,  199,  204, 
234,  264,  273,  325,  332;  in  outline,  266. 
leopard-skin,  303. 
Lichas,  135,  136,  164. 
lion,  63,  263. 
lotus,  12. 

flowers,  153. 
loutron,  1 02. 
lyre,  in  field,  24. 

in  hand,  26,  38,  53,  54,  106,  149,  215,  etc. 

offered  at  tomb,  187,  287. 
Lysippus,  330. 

maeander,  broken,  157. 

second,  55,  194,  295,  302. 
mantle,  rolled  up,  217,  220  f.,  303. 
Marathon,  296. 
mauve,  136. 
Medea,  296. 
Medusa,  64. 
Melanopos,  163,  223. 
Melos,  14,  1 6,  61. 
meta,  93. 
mirror,  47,  82,  85,  86. 

in  field,  129,  161,  162,  etc. 

in  hand,  134,  142. 
mourners,   19,   259,   270,  and  see  "scenes  of 

mourning." 
mouth  (of  lekythoi),  9  f. 

bell-shaped,  10. 

small  and  low,  9. 

trumpet,  10. 
Mycenean  ware,  14. 
myrtle,  127. 

name  incised,  2. 
Naukratis,  14,  16,  98. 
neck,  shapes  of,  10. 

solid,  262. 
necklace,  226. 
negro,  247,  260. 
Nike,  38,  83,  85,  102,  106,  126,  173,  192,  296  f. 

attendant  at  sacrifice,  125. 

with  hydria,  48. 

with  phiale,  before  altar,  28,  40,  43,  74,  84. 

with  torch,  60,  125,  173. 

with  wreath,  103,  126. 
Nikosthenes,  14,  16,  31. 
Nolan  amphorae,  206. 
nude  woman,  277. 

Oedipus,  310. 

olTcrings    to    the    dead,     xe     "  stele "    and 

"tumulus." 

oinochoai,  in  field,  148,  as  remarquc,  219. 
Oreithyia,  99. 
Orestes,  137  f. 
originality,  effort  for,  171. 


37° 


INDEX   IV 


original  scene  erased,  150. 

ornamentation,  12,   89,    108,  and  under  each 

series, 
outline  drawing,  16,  35. 

for  garments,  283,  292. 

in  dull  color,  292. 

overgarment,  woman's  (peculiar),  151. 
owl,  sitting  on  tumulus,  287-8. 

painted  stelai,  16. 

painting,  copied  on  lekythos,  139,  266,  269. 

palmettes,  13. 

each  side  of  scene,  59,  70,  72,  155,  etc. 

in  field,  29,  33,  etc. 

red  and  black,  221,  272. 

reserved,  204,  234  f. 
palm  tree,  90. 

Panphaios  (Pamphaios),  62,  258. 
Pasiades,  62,  73. 
Pegasus,  64  f. 

perfumes,  flask  for,  i,  3,  113. 
Perseus,  64,  95. 
Persian,  296,  304. 
"Persian  Artemis,"  61. 
pessoi,  90. 

petasos,  with  wings,  95. 
Phintias,  41  n,  62,  116. 
pillar,  80,  85,  189. 

square,  92. 

as  altar,  328. 
pink,  140,  155,  etc. 

for  flesh,  170. 
pitcher,  170,  195,  199,  etc. 
Pithoigia,  307. 
pithos,  306. 

used  for  burial,  307. 
plant,  131,  248. 
polychromy,  i. 
Polygnotos,  262. 
pomegranate,  85,  128,  204. 
portraiture,  253. 
preliminary  sketch,  use  of,   24,   55,   108,   140, 

154,  176,  196. 

procession  to  the  grave,  260. 
profile  drawing,  41. 

against  dark  surface,  186,  327. 

of  Hieron,  57. 
proverb  quoted,  77. 
purple,  56,  156,  166,  etc. 

dots  in  palmettes,  26,  27. 

lines,  302,  etc. 
purse,  see  "wallet." 
pyxis,  193. 

quail,  197. 

quiver,  37,  43,  51,  130. 

rabbit,  272. 

realistic  tendency,  67,  90,  92,   146,   156,   194, 

214,  262. 
examples  of,  97,  143,  159,  186,  190,  200,  204, 

241,  266. 
red-figured  ware,  influence  of,   7,   17,  31,  58, 

86,  91,  116,  149,  159,  206. 
severe  style,  36,  50,  64. 
scenes  from,  99,  250,  292,  etc. 
types  from,  213. 

relief  lines,  55,  64,  106,  109,  in. 
reliefs,  scenes  from,  249,  299,  313,  314,  319. 
retouching,  69,  228,  234,  257,  263,  273. 


Rheneia,  14,  16. 
Rhodes,  14,  16,  62. 
ritual  at  grave,  260,  279. 
rocks,  106,  208,  256,  295. 
as  seat,  298. 

sacrifice,  297. 
Samios,  136. 
sandals,  130,  226. 

laced  to  knee,  121. 
Sarpedon,  258. 
satyr,  72,  104. 
scarf,  124,  183,  244. 
scenes,  classified,  by  subject  and  reference. 

Amazon,  130,  131,  175,  249. 

Bacchante,  75,  83,  105,  124. 
dancing,  69,  84,  303. 

burial,  200,  257,  259. 

Charon,  190,  191,  307  f. 

combat,  249,  250. 

dead  person  in  tomb,  329. 

death,  256. 

decorating  stele,  133,  169,  210,  etc. 

ephebos,  checking  horse,  33,  70. 

farewell,  184,  211,  263. 

figure   advancing   and   looking   back,    78, 
297,  etc. 

flying  female  figure,  38,  41-2,  85. 

fountain,  48. 

god  receiving  worship,  122. 

god  performing  act  of  worship,  32,  37,  42, 
45,  66,  174. 

gynaikeion,  3,  47,  94,  105,  109,  120  f.,  141  f., 

154,  180,  222,  297  f. 
visit  to,  198,  227. 

Hermes  Psychopompos,  190,  191,  284. 

horse  and  rider,  34,  53,  249. 

hunting,  29,  30,  256. 

large  head  alone,  87  f. 

libation,  39,  41  f.,  158,  171,  174,  314. 

man  leaning  on  staff,  67,  86,  157,  197,  240  f., 
269,  etc. 

man  running,  68. 

mistress  and  maid,  147,  152,  i6of.,  177,  185, 
218  f.,  285. 

mourning,  96,  191,  204,  270  f.,  299  f.,  311  f., 

323»  33°- 

musicians,  149,  215,  223,  334. 
prayer  to  the  dead,  283. 
preparation  to  go  to  the  grave,  152,  219  f., 

237,  285. 

presenting  arms  at  tomb,  274-5. 
pursuit,  99. 
sacrifice,  37,  103. 
starting  for  the  grave,  77,  132. 
toilet  scenes,  86,  90,  etc. 
visit  to  the  grave,  167,  204,  229,  316,  325. 
warrior  charging,  295,  302,  320. 

departing,  157,  224,  261. 

looking  back,  59. 

putting  on  armor,  49. 
winged    female    figure,    61,    74,    and    see 

"  Nike." 

woman  playing  with  ball,  71,  105. 
woman  with  mirror,  85  f. 
woman  washing,  102. 
worship  at  tomb,  52,  79,  90,  193,  194,  201, 

233,  241  f.,  260,  265  f.,  291  f. 
youth,  with  erect  spear,  242. 

wrapped  in  himation,  93,  etc. 


INDEX  IV 


371 


scenes,  discussed,  3,  5,  35,  57,  and  at  conclu- 
sion of  each  series. 

variety  of,  5. 

sceptre,  146,  156,  171,  174,  etc. 
scrolls,  54. 

each  side  of  scene,  59,  etc. 

in  field,  29,  33,  126,  156,  etc. 
sculpture,  influence  of,  244. 
serpent,  39,  69,  295. 
shawl,  173. 
sheaf  of  corn,  174. 
shield,  130,  137,  157,  158,  etc. 

lunate,  130,  131. 

with  emblem,  263,  309. 
shoes,  winged,  95,  124. 
shoulder  ornament,  12,  176,  196,  and  see  Table 

I,  Classification  of  Lekythoi. 
silhouette,  35,  56,  153,  179. 

accessories,  100,  125. 

animal,  40,  68,  73. 

flesh,  23. 

garments,  59,  125,  163. 

hair,  239. 
skirt,  held  up,  62,  224. 

blown  back,  75,  79,  170. 

kicked  up,  124. 

sweeping  fold  behind,  124,  144,  304. 
slave,  154,  204. 
slip,  white,  i,  5,  13. 

development  of,  6,  14,  15,  114,  182,  253. 

distribution  of,  15. 

introduction  of,  14. 

shiny,  194,  214,  295  f. 
slip,  varieties  of,  20,  55,  100,  140,  176. 

brownish,  120  f. 

fine  yellow,  196. 

smegmatotheke,  133,  145,  161,  324,  etc. 
souls,  191,  243,  307-8. 

types  of,  309. 
spear,  158. 
sphendone,  137. 
sphinx,  298,  309,  310. 
spinning,  121. 
spray,  40,  87. 

on  steps  of  stele,  205. 
statue,  on  monument,  267,  268. 
statue,  reproduction  of,  231. 
stele,  figures  on  pediment,  188,  233,  272. 

triangular  top,  168,  199,  259,  etc. 

two  together,  266,  323. 

with  altar,  264  f. 

with  offerings,  187,  193-4,  205  f.,  234,  264. 

youth  seated  on  steps,  204,  251. 
stephane,  60,  77,  84,  etc. 
stool,  47,  85,  158,  165,  etc. 
stork,  161. 
strigil,  77,  86,  94,  etc. 


stripe,  on  garment,  103,  106,  192,  263,  277, 

etc 

swan,  175. 

sword-case,  121,  273. 
Syriskos,  28. 

table,  129,  152,  1 68,  etc. 
tablets,  261,  265,  300. 
taenia,  76,  83,  85,  etc. 

black,  96,  132,  152. 

ends  tied  together,  231,  238  f. 

outline,  98. 
temple,  122,  170. 
Thanatos,  25. 
three  figures  in  scene,  256. 
thymiaterion,  191-2. 
Thypheithides,  37. 
thyrsos,  83,  84,  104,  124,  328. 
toilet  vase,  165,  203,  and  see  "smegmatotheke." 

used  at  grave,  281. 
torch,  36,  44,  103,  125,  146,  291,  312. 

significance  of,  46,  1 74. 
tree,  29,  37,  63,  81,  256,  327. 
Triptolemos  myth,  174. 
Troilos,  327. 

tumuli,  group  of  three,  312. 
tumulus,  96,  195,  206,  299,  313. 

behind  stele,  299,  310  f.,  321. 

containing  dead  person,  329. 

elliptical,  229. 

with  offerings  inside,  287-8,  312. 

with  stele  on  top,  211. 

varnish,  310. 

"vases  de  Locres,"  6,  7. 

violet  wash,  289,  291,  333. 

wallet,  64,  82,  95,  104,  etc. 

wand,  263. 

warrior,  31,  33,  49,  and  see  "scenes." 

water  (fountain),  48. 

white  enamel,  16,  107,  120  f.,  156. 

wings,  41. 

high  square,  28. 

of  Medusa,  66. 
Winter,  88. 
wolf,  6r. 

worship  of  the  dead,  see  "  scenes." 
wreath,  77,  83,  133  f. 

black,  264. 

of  lilies,  155. 

on  head,  127. 

yarn,  143. 

Zephyros,  258. 
Zeus,  42,  172. 


PLATE   II 


i.    NAPLES,  Mus.  S.  A.  99 


2.    LOUVRE,  MNC  650 


1'IAIK    111 


i.    LOUVRE,  MNB  909 


.. 


2.    SYKAU  \M  n. 


PLATE   IV 


Ni.\v  YORK,  METKUP.  Mi's.  06,  1070 


PLATE  V 


PLATE   VI 


^ 


*\ 


PLATK    VII 


PLATE  VIII 


i.    ATHENS,  NAT.  Mrs.  1960 


2.     MAHKII>,  Mis.  AKUI.  11189 


PLATE   IX 


PLATE   X 


PL  ATI:  xi 


PLATE   XII 


PLATI-:  xiii 


"--"jl 

snj 


ri.ATK    XIV 


I.     BOSTON,  Mrs.  7165 


2.    MUNICH,  2170 


3.    ATHENS,  NAT.  Mus.  1859 


4.    KARLSRUHE,  2663 


PL ATK    XV 


A  i  HENS,  NAT.  Mrs.  1822 


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THE  VALUE  OF  HUMANISTIC  STUDIES.  Edited  by  Francis 
W.  Kelsey.  Pp.  x+3Q6,  $1.50. 

CONTENTS 

THE  PRESENT  POSITION  OF  LATIN  AND  GREEK,  THE  VALUE  OF 
LATIN  AND  GREEK  AS  EDUCATIONAL  INSTRUMENTS,  THE  NATURE 
OF  CULTURE  STUDIES. 

SYMPOSIA  ON  THE  VALUE  OF  HUMANISTIC,  PARTICULARLY  CLASSICAL, 
STUDIES  AS  A  PREPARATION  FOR  THE  STUDY  OF  MEDICINE, 
ENGINEERING,  LAW  AND  THEOLOGY. 

A  SYMPOSIUM  ON  THE  VALUE  OF  HUMANISTIC,  PARTICULARLY 
CLASSICAL,  STUDIES  AS  A  TRAINING  FOR  MEN  OF  AFFAIRS. 

A  SYMPOSIUM  ON  THE  CLASSICS  AND  THE  NEW  EDUCATION. 

A  SYMPOSIUM  ON  THE  DOCTRINE  OF  FORMAL  DISCIPLINE  IN  THE 
LIGHT  OF  CONTEMPORARY  PSYCHOLOGY. 


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General  Editors :   FRANCIS  W.  KELSEY  and  HENRY  A.  SANDERS 

Size,  22. 7  x  15.2  cm.     8°.     Hound  in  cloth 

VOL.  I.  ROMAN  HISTORICAL  SOURCES  AND  INSTITUTIONS.  Edited 
by  Professor  Henry  A.  Sanders,  University  of  Michigan. 
Pj).  viii  +  4O2.  #2.50  net. 

CONTENTS 

1.  THE  MYTH  ABOUT  TARPEIA  :  Professor  Henry  A.  Sanders. 

2.  THE  MOVEMENTS  OF  THE  CHORUS  CHANTING  THE  CARMEN  SAE- 

CULARE  :  Professor  Walter  Dennison,  Swarthmore  College. 

3.  STUDIES  IN  THE  LIVES  OF  ROMAN  EMPRESSES,  JULIA  MAMAEA  : 

Professor  Mary  Gilmore  Williams,  Mt.  Holyoke  College. 

4.  THE  ATTITUDE  OF  Dio  CASSIUS  TOWARD  EPIGRAPHIC  SOURCES: 

Professor  Duane  Reed  Stuart,  Princeton  University. 

5.  THE  LOST  EPITOME  OF  LIVY  :  Professor  Henry  A.  Sanders. 

6.  THE  PRINCIPALES  OF  THE  EARLY  EMPIRE  :  Professor  Joseph  H. 

Drake,  University  of  Michigan. 

7.  CENTURIONS  AS  SUBSTITUTE  COMMANDERS  OF  AUXILIARY  CORPS  : 

Professor  George  H.  Allen,  University  of  Cincinnati. 


VOL.  II.  WORD  FORMATION  IN  PROVENCAL.  By  Professor  Ed- 
ward L.  Adams,  University  of  Michigan.  Pp.  xvii  +  6c>7. 
$4.00  net. 

Vol.  III.  LATIN  PHILOLOGY.  Edited  by  Professor  Clarence 
Linton  Meader,  University  of  Michigan.  Pp.  vii  +  290. 
$2.00  net. 

Parts  Sold  Separately  in  Paper  Covers : 

Part  I.  THE  USE  OF  IDEM,  IPSE,  AND  WORDS  OF  RELATED  MEAN- 
ING. By  Clarence  L.  Meader.  Pp.  i-iu.  $0.75. 

Part  II.  A  STUDY  IN  LATIN  ABSTRACT  SUBSTANTIVES.  By  Professor 
Manson  A.  Stewart,  Yankton  College.  Pp.  113-78.  $0.40. 

Part  III.  THE  USE  OF  THE  ADJECTIVE  AS  A  SUBSTANTIVE  IN  THE 
DE  RERUM  NATURA  OF  LUCRETIUS.  By  Dr.  Frederick  T.  Swan. 
Pp.  179-214.  $0.40. 

Part  IV.  AUTOBIOGRAPHIC  ELEMENTS  IN  LATIN  INSCRIPTIONS.  By 
Professor  Henry  H.  Armstrong,  Drury  College.  Pp.  215-86. 
$0.40. 

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VOL.  IV.     ROMAN    HISTORY   AND   MYTHOLOGY.     Edited  by   Pro- 
fessor Henry  A.  Sanders.     Pp.  viii  +  427.     $2.50  net. 

Parts  Sold  Separately  in  Paper  Covers : 

Part  I.  STUDIES  IN  THE  LIFE  OF  HELIOGABALUS.  By  Dr.  Orma 
Fitch  Butler,  University  of  Michigan.  Pp.  1-169.  $i-25  net. 

Part  II.  THE  MYTH  OF  HERCULES  AT  ROME.  By  Professor  John 
G.  Winter,  University  of  Michigan.  Pp.  171-273.  $0.50  net. 

Part  III.  ROMAN  LAW  STUDIES  IN  LIVY.  By  Professor  Alvin  E. 
Evans,  Washington  State  College.  Pp.  275-354.  $0.40  net. 

Part  IV.  REMINISCENCES  OF  ENNIUS  IN  SILIUS  ITALICUS.  By  Dr. 
Loura  B.  Woodruff.  Pp.  355-424.  $0.40  net. 


VOL.  V.     STUDIES  IN  THE  GOSPELS. 

Part  I.     THE   SOURCES  OF  THE  SYNOPTIC  GOSPELS.     By  Dr.  Carl 
S.  Patton.     (In  Press.} 


Size,  28  x  18.5  cm.     4to. 

VOL.  VI.  ATHENIAN  LEKYTHOI  WITH  OUTLINE  DRAWING  IN 
GLAZE  VARNISH  ON  A  WHITE  GROUND.  By  Arthur  Fair- 
banks, Director  of  the  Museum  of  Fine  Arts,  Boston. 
With  15  plates,  and  57  illustrations  in  the  text.  Pp.  viii  +  371. 
Bound  in  cloth.  $4.00  net. 


VOL.  VII.  ATHENIAN  LEKYTHOI  WITH  OUTLINE  DRAWING  IN 
MATT  COLOR  ON  A  WHITE  GROUND,  AND  AN  APPENDIX: 
ADDITIONAL  LEKYTHOI  WITH  OUTLINE  DRAWING  IN  GLAZE 
VARNISH  ON  A  WHITE  GROUND.  By  Arthur  Fairbanks. 
With  41  plates.  Pp.  x  +  275.  Bound  in  cloth.  $3.50  net. 


VOL.  VIII.  THE  OLD  TESTAMENT  MANUSCRIPTS  IN  THE  FREER 
COLLECTION.  By  Professor  Henry  A.  Sanders,  University  of 
Michigan. 

Part  I.  THE  WASHINGTON  MANUSCRIPT  OF  DEUTERONOMY  AND 
JOSHUA.  With  3  folding  plates  of  pages  of  the  Manuscript  in 
facsimile.  Pp.  vi -f  104.  Paper  covers.  $1.00. 

Part  II.  THE  WASHINGTON  MANUSCRIPT  OF  THE  PSALMS.  (In 
Preparation.} 

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VOL.  IX.  THE  NEW  TESTAMENT  MANUSCRIPTS  IN  THE  FKKKR 
COLLECTION.  By  Professor  Henry  A.  Sanders,  University 
of  Michigan. 

Part  I.  THE  WASHINGTON  MANUSCRIPT  OF  THE  FOUR  GOSPELS. 
With  5  plates.  Pp.  vii  +  247.  Paper  covers.  $  2.00. 

Part  II.  THE  WASHINGTON  FRAGMENTS  OF  THE  EPISTLES  OF  PAUL. 
(In  Preparation. ) 

VOL.  X.  THE  COPTIC  MANUSCRIPTS  IN  THE  FREER  COLLECTION. 
By  Professor  William  H.  Worrell,  Hartford  Seminary 
Foundation. 

Part  I.  A  FRAGMENT  OF  A  PSALTER  IN  THE  SAHIDIC  DIALECT. 
(In  Preparation.} 

VOL.  XI.  CONTRIBUTIONS  TO  THE  HISTORY  OF  SCIENCE.  (In 
Press.} 

Part  I.  ROBERT  OF  CHESTER'S  LATIN  TRANSLATION  OF  THE  ALGEBRA 
OF  AL-KHOWARIZMI.  With  an  Introduction,  Critical  Notes,  and 
an  English  Version.  By  Professor  Louis  C.  Karpinski,  Univer- 
sity of  Michigan.  With  3  plates  showing  pages  of  manuscripts 
in  facsimile,  and  25  diagrams  in  the  text. 

Part  II.  THE  PRODROMUS  OF  NICHOLAS  STENO'S  LATIN  DISSER- 
TATION ON  A  SOLID  BODY  ENCLOSED  BY  NATURAL  PROCESS 
WITHIN  A  SOLID.  Translated  into  English  by  Professor  John  G. 
Winter,  University  of  Michigan,  with  a  Foreword  by  Professor 
William  H.  Hobbs.  With  2  plates  of  facsimiles,  and  diagrams. 

Part  III.  VESUVIUS  IN  ANTIQUITY.  Passages  of  Ancient  Authors, 
with  a  Translation  and  Elucidations.  By  Francis  W.  Kelsey. 
Illustrated. 


VOL.  XII.     STUDIES    IN    EAST    CHRISTIAN    AND    ROMAN    ART. 

Part  I.  EAST  CHRISTIAN  PAINTINGS  IN  THE  FREER  COLLECTION. 
By  Professor  Charles  R.  Morey,  Princeton  University.  With  13 
plates  (10  colored)  and  34  illustrations  in  the  text.  Pp.  xiii  +  86. 
Bound  in  cloth.  $  2. 50. 

Part  II.  A  GOLD  TREASURE  OF  THE  LATE  ROMAN  PERIOD  FROM 
EGYPT.  By  Professor  Walter  Dennison,  Swarthmore  College. 
(/«  Press.) 

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VOL.  XIII.  DOCUMENTS  FROM  THE  CAIRO  GENIZAH  IN  THE 
FREER  COLLECTION.  Text,  with  Translation  and  an  Intro- 
duction by  Professor  Richard  Gottheil,  Columbia  University. 
(In  Preparation^) 


SCIENTIFIC  SERIES 

Size,  28  x  18.5  cm.     4°.     Bound  in  cloth 

VOL.  I.  THE  CIRCULATION  AND  SLEEP.  By  Professor  John  F. 
Shepard,  University  of  Michigan.  Pp.  x  +  83,  with  an  Atlas 
of  83  plates,  bound  separately.  Text  and  Atlas,  $2.50  net. 


University  of  Michigan  Publications 

HUMANISTIC  PAPERS 

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LATIN  AND  GREEK  IN  AMERICAN  EDUCATION,  WITH  SYMPOSIA  ON 
THE  VALUE  OF  HUMANISTIC  STUDIES.  Edited  by  Francis 
W.  Kelsey.  Pp.  x  +  396.  $1.50. 


CONTENTS 

THE  PRESENT  POSITION  OF  LATIN  AND  GREEK,  THE  VALUE  OF 
LATIN  AND  GREEK  AS  EDUCATIONAL  INSTRUMENTS,  THE  NATURE 
OF  CULTURE  STUDIES. 

SYMPOSIA  ON  THE  VALUE  OF  HUMANISTIC,  PARTICULARLY  CLASSICAL, 
STUDIES  AS  A  PREPARATION  FOR  THE  STUDY  OF  MEDICINE, 
ENGINEERING,  LAW  AND  THEOLOGY. 

A  SYMPOSIUM  ON  THE  VALUE  OF  HUMANISTIC,  PARTICULARLY 
CLASSICAL,  STUDIES  AS  A  TRAINING  FOR  MEN  OF  AFFAIRS. 

A  SYMPOSIUM  ON  THE  CLASSICS  AND  THE  NEW  EDUCATION. 

A  SYMPOSIUM  ON  THE  DOCTRINE  OF  FORMAL  DISCIPLINE  IN  THE 
LIGHT  OF  CONTEMPORARY  PSYCHOLOGY. 


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Handbooks   of  Archaeology   and   Antiquities 

Edited  by  PERCY  GARDNER  and  FRANCIS  W.  KELSEY 

THE  PRINCIPLES   OF   GREEK  ART 

Hy  PERCY  GARDNER,  Litt.D.,  Lincoln  and  Merton  Professor  of  Classical 
Archaeology  in  the  University  of  Oxford. 

Makes  clear  the  artistic  and  psychological  principles  underlying  Greek  art.  especially 
sculpture,  which  is  treated  as  a  characteristic  manifestation  of  the  Greek  spirit,  a  devel- 
opment parallel  to  that  of  Greek  literature  and  religion.  While  there  are  many  hand- 
books of  Greek  archaeology,  this  volume  holds  a  unique  place. 

Illustrated,  cloth,  $2.25;  postpaid,  $2.46 

GREEK  ARCHITECTURE 

By  ALLAN  MARQUAND,  Ph.D.,  L.H.D.,  Professor  of  Art  and  Archaeology 

in  Princeton  University. 

Professor  Marquand,  in  this  interesting  and  scholarly  volume,  passes  from  the  mate- 
rials of  construction  to  the  architectural  forms  and  decorations  of  the  buildings  of 
Greece,  and  lastly,  to  its  monuments.  Nearly  four  hundred  illustrations  assist  the 
reader  in  a  clear  understanding  of  the  subject. 

Cloth,  $2.2 s;  postpaid,  $2.4.5 

GREEK   SCULPTURE 

By  ERNEST   A.  GARDNER,  M.A.,  Professor  of  Archaeology  in  University 
College,  London. 

A  comprehensive  outline  of  our  present  knowledge  of  Greek  sculpture,  distinguishing 
the  different  schools  and  periods,  and  showing  the  development  of  each.  This  volume, 
fully  illustrated,  fills  an  important  gap  and  is  widely  used  as  a  text-book. 

Cloth,  $2.50;  postpaid,  $2.67 

GREEK   CONSTITUTIONAL   HISTORY 

By  A.  H.  J.  GREENIDGE,  M.A.,  Late  Lecturer  in  Hertford  College  and  Brase- 
nose  College,  Oxford. 

Most  authors  in  writing  of  Greek  History  emphasize  the  structure  of  the  constitutions ; 
Mr.  Greenidge  lays  particular  stress  upon  the  workings  of  these  constitutions.  With 
this  purpose  ever  in  view,  he  treats  of  the  development  of  Greek  public  law,  distinguish- 
ing the  different  types  of  states  as  they  appear. 

Cloth,  $1.25;  postpaid,  $1.35 

GREEK  ATHLETIC   SPORTS   AND   FESTIVALS 

By  E.  NORMAN  GARDINER,  M.A.,  Sometime  Classical  Exhibitioner  of  Christ 
Church  College,  Oxford. 

With  more  than  two  hundred  illustrations  from  contemporary  art,  and  bright  descrip- 
tive text,  this  work  proves  of  equal  interest  to  the  general  reader  and  to  the  student  of 
the  past.  Many  of  the  problems  with  which  it  deals  —  the  place  of  physical  training, 
games,  athletics,  in  daily  and  national  life  —  are  found  to  be  as  real  at  the  present  time 
as  they  were  in  the  far-off  days  of  Greece. 

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ATHENS  AND   ITS   MONUMENTS 

By  CHARLES  HEALD  WELLER,  of  the  University  of  Iowa. 

The  interest  of  Athens  is  perennial,  and  the  progress  of  research  is  constantly  enlarg- 
ing our  knowledge.  This  book  embodies  the  results  of  many  years  of  study  and  of 
direct  observation  during  different  periods  of  residence  in  Athens.  It  presents  in  con- 
cise and  readable  form  a  description  of  the  ancient  city  in  the  light  of  the  most  recent 
investigations.  It  will  enable  the  reader  to  obtain  a  bird's-eye  view  of  the  most 
important  sites  and  buildings  known  from  the  remains  or  from  the  Greek  literature. 
Profusely  illustrated  with  Half-tones  and  Line  Engravings. 

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THE  DESTRUCTION   OF  ANCIENT  ROME 

By  RODOLFO  LANCIANI,  D.C.L.,  Oxford;  LL.D.,  Harvard;  Professor  of 
Ancient  Topography  in  the  University  of  Rome. 

Rome,  the  fate  of  her  buildings  and  masterpieces  of  art,  is  the  subject  of  this  profusely 
illustrated  volume.  Professor  Lanciani  gives  us  vivid  pictures  of  the  Eternal  City  at 
the  close  of  the  different  periods  of  history. 

Cloth,  $1.50;  postpaid,  $1.63 

ROMAN  FESTIVALS 

By  W.  WARDE  FOWLER,  M.A.,  Fellow  and  Sub-Rector  of  Lincoln  College, 
Oxford. 

This  book  covers  in  a  concise  form  almost  all  phases  of  the  public  worship  of  the 
Roman  state,  as  well  as  certain  ceremonies  which,  strictly  speaking,  lay  outside  that 
public  worship.  It  will  be  found  very  useful  to  students  of  Roman  literature  and  his- 
tory as  well  as  to  students  of  anthropology  and  the  history  of  religion. 

Cloth,  $1.25;  postpaid,  $1.37 

ROMAN  PUBLIC   LIFE 

By  A.  H.  J.  GREENIDGE,  Late  Lecturer  in  Hertford  College  and  Brasenose 
College,  Oxford. 

The  growth  of  the  Roman  constitution  and  its  working  .during  the  developed  Republic 
and  the  Principate  is  the  subject  which  Mr.  Greenidge  here  set  for  himself.  All  im- 
portant aspects  of  public  life,  municipal  and  provincial,  are  treated  so  as  to  reveal  the 
political  genius  of  the  Romans  in  connection  with  the  chief  problems  of  administration. 

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MONUMENTS   OF   CHRISTIAN  ROME 

By  ARTHUR  L.  FROTHINGHAM,  Ph.D.,  Sometime  Associate  Director  of  the 
American  School  of  Classical  Studies  in  Rome,  and  formerly  Professor  of  Archae- 
ology and  Ancient  History  in  Princeton  University. 

"The  learned  author  reviews  the  monuments  of  Rome  during  the  ten  centuries  from 
Constantine  to  the  Renaissance."  "The  plan  of  the  volume  is  simple  and  admirable. 
The  first  part  comprises  a  historical  sketch ;  the  second,  a  classification  of  the  monu- 
ments."—  The  Outlook. 

Political,  social,  and  religious  facts  are  co-ordinated  with  the  history  of  art,  so  as  to 
form  a  single  picture.  The  volume  is  pronounced  "a  credit  to  American  scholarship." 

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MONUMENTS   OF  THE   EARLY   CHURCH 

By  WALTER  LOWRIE,  M.A.,  Late  Fellow  of  the  American  School  of  Classical 
Studies  in  Rome,  Rector  of  St.  Paul's  Church,  Rome. 

Nearly  two  hundred  photographs  and  drawings  of  the  most  representative  monumental 
remains  of  Christian  antiquity,  accompanied  by  detailed  expositions,  make  this  volume 
replete  with  interest  for  the  general  reader  and  at  the  same  time  useful  as  a  hand-book 
for  the  student  of  Christian  archaeology  in  all  its  branches. 

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